Q 

o 


English  Pageantry 

An  Historical  Outline 


BY 


Robert  Withington 


VOLUME  II 


CAMBRIDGE 
HARVARD  UNIVERSITY  PRESS 

LONDON:    HUMPHREY  MILFORD 

OXFORD  UNIVERSITY  PRESS 
1920 


COPYRIGHT,  I92O 
HARVARD  UNIVERSITY  PRESS 


CONTENTS 

CHAPTER  VI 

PAGE 

THE  LORD  MAYOR'S  SHOW 3 

§i.    The  Rise  and  Pageantic  Development  of  the  Lord  Mayor's  Show,  1209- 

1585 3 

§2.    The  Show  at  its  Height,  1585-1708:  Peele  to  Settle      23 

§3.    The  Decline  of  a  Time-Honored  Custom,  1708-1858 86 

§4.    The  Renaissance  of  the  Pageantic  Show,  1858-1919 119 

CHAPTER  VII 

SURVIVALS  AND  REVIVALS 146 

§i.    Folk-Pageantry 146 

§2.    "Occasional"  Pageantry 159 

§3.    Trade-Pageantry 164 

§4.    Political  Pageantry 171 

§5.    Pageantic  Tournaments  of  Modern  Days 182 

§6.    Christina  Rossetti's  "Pageant  of  the  Months" 191 

§7.    Conclusion 192 

CHAPTER  VIII 

THE  PARKERIAN  PAGEANT 194 

§i.    The  Birth  of  Modern  Pageantry 196 

§2.    Producing  a  Pageant 198 

§3.    Characteristics  of  the  New  Pageantry 202 

§4.    The  Pageant  and  the  Stage 208 

§5.    The  Structure  of  the  Pageant 210 

§6.    The  Elements  of  the  Pageant 212 

§7.    Masque,  Interlude,  and  Joust  in  the  Modern  Pageant 222 

§8.    Pageantic  Tendencies  in  England  —  the  "Pageant-Play" 228 

§9.    Conclusion 231 

ill 

4-38455 


iv  CONTENTS 

CHAPTER  DC 

PAGEANTRY  IN  THE  UNITED  STATES 235 

§i.    Processional  Pageantry 235 

§2.    The  Community  Drama 257 

§3.   The  "Festival" 281 

§4.    Definitions  of  "Pageant,"  and  Classification  of  Pageantic  Shows  .    .    .  291 

CHAPTER  X 

CONCLUSION 297 

BIBLIOGRAPHY 307 

INDEX 343 


ILLUSTRATIONS 

PAGE 

THE  OLD  AND  THE  NEW Frontis 

A  Mediaeval  Pageant-Car  reproduced  in  the  York  Pageant  of  1909.  From  a  photograph 
given  by  F.  Arey  of  York,  to  the  Harvard  University  Library. 

JACOB  HALL 50 

The  famous  rope-dancer.   "From  a  rare  print  in  the  collection  of  Sir  John  St.  Aubyn." 
Published  18  February,  1792. 

From  the  Fairholt  Collection.  Reproduced  with  the  permission  of  the  Society  of  Anti 
quaries  (London). 

THE  CITY  BARGE,  AND  BARGES  OF  VARIOUS  COMPANIES 68 

B.  Cole,  Sc.  From  the  Fairholt  Collection.  Reproduced  with  the  permission  of  the  Soci 
ety  of  Antiquaries  (London). 

SIR  WILLIAM  WALWORTH  IN  THE  1616  SHOW     80 

From  J.  G.  Nichols'  edition  of  Chrysanaleia,  London,  1844. 

THE  LORD  MAYOR'S  COACH 94 

From  Hogarth's  Industry  and  Idleness  Series. 

GOG  AND  MAGOG 100 

The  giants  in  the  Guildhall.  From  photographs  in  the  Harvard  University  Library. 

WESTMINSTER  ABBEY  AND  BRIDGE  —  THE  DEBARKATION  ON  LORD  MAYOR'S  DAY     112 
From  an  engraving  of  a  painting  by  David  Roberts,  R.A.,  in  the  Fairholt  Collection.  Re 
produced  with  the  permission  of  the  Society  of  Antiquaries  (London). 

THE  LORD  MAYOR'S  SHOW  —  Two  ANCIENT  KNIGHTS  AND  THE  MAN  LN  BRASS  .    .     1 16 
From  the  Illustrated  London  News  of  9  November,  1844. 

GUILDHALL  BANQUET  INVITATION  —  1915 140 

Drawn  by  Bernard  Partridge.  From  a  copy  sent  to  the  author  by  J.  Dixon  Taylor  of  the 
Guildhall. 

"LONDON'S  WELCOME  TO  PEACE" 142 

Cover  of  the  "Order  of  Procession  "  of  the  1919  Show,  in  the  Harvard  University  Library. 

THE  THRONE  SCENE  LN  THE  KNUTSFORD  FESTIVAL 154 

THE  LADY  GODIVA  PROCESSION 170 

From  an  engraving  signed  "D.  Jee"  in  the  Fairholt  Collection.   Reproduced  with  the 
permission  of  the  Society  of  Antiquaries  (London). 

THE  ABORIGINES  SACRIFICING 195 

A  scene  from  the  Sherborne  Pageant  of  1905.   From  a  photograph  owned  by  Louis  N. 
Parker  of  London. 


vi  ILLUSTRATIONS 

THE  DEATH  OF  KING  ETHELBALD .   .    .     210 

A  scene  from  the  Sherborne  Pageant  of  1905.  From  a  photograph  owned  by  Louis  N. 
Parker  of  London. 

THE  COMING  OF  ST.  EALDHELM 218 

A  scene  from  the  Sherborne  Pageant  of  1005.  From  a  photograph  owned  by  Louis  N. 
Parker  of  London. 

THE  PEASANTS'  REVOLT 220 

A  scene  from  the  St.  Albans  Pageant  of  1907.  From  a  postcard  in  the  Harvard  University 
Library. 

THE  BOSTON  TEA-PARTY 238 

A  "float"  in  the  Celebration  of  the  2$oth  Anniversary  of  the  Settlement  of  Boston  — 
September  17,  1880.  From  a  photo-engraving  in  Program. 

TOILERS  OF  THE  SEA 250 

A  "  float "  in  the  Little  Compton  Parade  of  1914.  From  a  photograph  in  the  possession  of 
the  author. 

A  SCENE  FROM  THE  PETERBOROUGH  PAGEANT  OF  1910 264 

From  a  photograph  in  the  possession  of  Professor  George  P.  Baker  of  Harvard  Uni 
versity.  Copyrighted  by  the  MacDowell  Memorial  Association.  Reproduced  with  the 
permission  of  the  owner  and  of  the  Association. 

SCENES  FROM  THE  PAGEANT  OF  BLOOMINGTON  AND  INDIANA  UNIVERSITY  —  1916  .     274 

From  photographs  owned  by,  and  reproduced  with  the  permission  of,  W.  C.  Langdon, 
author  and  master  of  the  pageant. 

THE  CORONATION  OF  CHARLES  VII  OF  FRANCE 290 

A  scene  from  the  French  Episode  of  the  Red  Cross  Pageant  of  1917  at  Huntington,  L.  I., 
N.  Y.  Reproduced  with  the  permission  of  Paul  Thompson  of  New  York. 


ENGLISH  PAGEANTRY 


ENGLISH  PAGEANTRY 

CHAPTER  VI 

THE  LORD  MAYOR'S  SHOW 

§  i.  THE  RISE  AND  PAGEANTIC  DEVELOPMENT  OF  THE 
LORD  MAYOR'S  SHOW,  1209-1585 

EARLY  in  the  thirteenth  century,  King  John  granted  a  mayor  to  the  citi 
zens  of  London,  who  had  hitherto  been  governed  by  bailiffs.  The  first  man 
to  hold  this  office  was  Sir  Henry  Fitz-Alwin,  who  was  sworn  in  in  I2OQ.1  When 
the  king  granted  the  mayor,  he  stipulated  that  the  officer  should  be  presented 
for  approval  either  to  him  or  to  his  justices,  who  sat  in  his  palace  at  Westminster; 
and  from  this  stipulation  originated  the  procession  which  has  lasted  to  our  own 
day.2 


1  Annales  Lond.,  i,  p.  14.    Stubbs,  the  editor,  notes,  (loc.  cit.,  n.  i)  that  Fitz-Alwin  "  had 
been  mayor  for  many  years,  probably  since  1191,"  yet  he  calls  attention  to  Fabyan,  who  re 
cords  that "  Fitz-Eylwin  "  was  sworn  in  as  first  mayor  on  Michaelmas  day,  10  John  (1209). 
Gregory's  Chronicle  (ed.  from  Egerton  MS.  1995,  for  the  Camden  Society,  by  James  Gairdner 
[London,  1876])  p.  60,  notes  that  Fitz-Alwin,  the  first  mayor,  was  installed  in  1209.    Cf.  ibid., 
p.  243  and  note  b.    Cf.  Tyrrell,  p.  7;   Grafton,  p.  245;   Stow,  Survey,  (1618)  p.  915  f.    The 
latter  records  Fitz-Alwin's  mayoralty  as  beginning  in  1189  (i  Rich.  I)  and  continuing  twenty- 
four  years,  to  15  John  (1212).    B.  B.  Orridge,  F.  G.  S.,  in  Some  Account  of  the  Citizens  of 
London  and  their  Rulers  (London,  1867),  prints  a  "  Calendar  of  Mayors  and  Sheriffs  "  which 
begins  in  1189  with  Fitz-Alwin.     Kingsford's  Stow's  Sutvey,  ii,  p.  384,  dates  Fitz-Alwin's 
term  from  1191  or  1193.     Cf.  ibid.,  p.  149. 

Thomas  Heywood  (see  Works  (1874),  iv,  p.  270;  v,  pp.  264  and  360)  says  that  Fitz-Alwin's 
twenty-four-year  term  began  in  1210;  J.  G.  Nichols,  Lond.  Pag.,  is  wrong  in  setting  the  date 
of  the  first  mayor  at  1215.  Thomas  Jordan,  in  the  "  epistle  dedicatory  "  to  Sir  Joseph  Sheldon 
in  his  1675  pamphlet,  says  that  Fitz-Alwin  was  mayor  for  "  more  than  24  years,  sans  inter 
mission;  "  but  neither  here,  nor  in  his  1676  pamphlet  (on  p.  6  of  which  he  uses  approximately 
the  same  language)  does  he  assign  a  date  for  the  commencement  of  the  term.  In  the  third 
"  presentation  "  of  Dekker's  1628  Show  is  John,  who  gave  the  city  "  a  Lord  Maior  and  two 
Sheriff es  ";  on  p.  2  of  his  1631  pamphlet  he  dates  Fitz-Alwin's  advancement  to  the  mayoralty, 
Anno  1 2 10.  I  need  not  add  that  none  of  these  writers  are  authorities. 

In  1889,  the  seven-hundredth  anniversary  of  the  mayoralty  of  London  was  celebrated. 
The  "  authorities  concerning  the  Inauguration  of  the  Mayoralty  in  the  Year  of  Grace  1189, 
being  the  first  year  of  King  Richard  I,"  are  —  as  recorded  in  a  pamphlet  printed  in  March, 
1889,  — "  Liber  de  Antiquis  Legibus;  Liber  Albus,  and  Stow's  Survey  of  London." 

2  For  accounts  of  the  Lord  Mayor's  Show  see  —  beside  the  contemporary  chroniclers  — 
Fairholt,  Lord  Mayors1  Pageants,  part  i;   Hone,  Am.  Mys.;  J.  G.  Nichols,  London  Pageants; 

3 


ENGLISH  PAGEANTRY 


THE  EARLY  CENTURIES 


There  were  two  ways  of  going  from  London  to  Westminster  —  one  by  the 
river  and  the  other  along  the  Strand.  J.  G.  Nichols  records  that  the  newly- 
elected  mayor  and  his  companions  "  were  accustomed  to  take  their  way  on 
horseback,  until  Sir  John  Norman',  the  mayor  in  [1453],  resolved  to  go  by  water. 
For  this  purpose,  a  stately  barge  was  built  at  his  private  expense,  and  the  com 
panies  imitated  his  example."  l  Perhaps  it  was  the  magnificence  of  the  barge 
which  was  responsible  for  the  oft-repeated  tradition  that  Norman  was  the 
first  mayor  to  make  the  journey  by  the  Thames;  whatever  the  reason  for  its 
persistence,  Walderne,  the  mayor,  seems  to  have  made  the  journey  by  water, 
with  the  crafts,  in  1422. 

Fabyan  records 2  that  in  1251  the  citizens  were  excused  from  presenting  their 
mayor  to  the  king,  wherever  he  might  be,  but  were  allowed  to  present  him  to 
the  "  baronys  "  of  the  "  exchekyr,"  who  could  receive  his  oath  were  the  king 
away.  This  decision  tended  to  give  a  "  stability  "  to  the  procession,  which  was 
no  small  factor  in  its  development;  for  the  goal  was  fixed.  When  the  king's 
Exchequer  was  not  at  London,  or  the  Court  was  vacant,  the  mayor  was  presented 
to  the  Constable  of  the  Tower,  or  to  his  lieutenant.3 

So  grew  up  the  custom  which  later,  as  we  shall  see,  became  the  famous  "  Lord 
Mayor's  Show,"  and  which —  though  its  glories  largely  departed  in  the  eight 
eenth  century —  is  still  a  matter  of  interest  to  the  citizens  of  London.  In  16 
Richard  II  (1392)  one  of  the  Bishop  of  Salisbury's  yeomen  stole  from  a  baker; 
this  aroused  the  people  so  that  the  bishop  complained  to  the  king,  who  deposed 


Unwin,  Gilds  and  Companies  of  London:  Herbert,  History  of  the  Livery  Companies,  etc.  The 
Repertories  contain  many  items  of  interest;  the  pamphlets  describing  the  shows  between  1585 
and  1708  are  important,  and  there  are  many  MS.  accounts  and  minutes  of  committees  in  the 
Guildhall  library.  I  may  add  that  John  Nichols  gathered  much  material  on  the  subject  in 
the  Gent.  Mag.  for  1824-25  (xciv,  ii,  pp.  113  f.,  411  f.,  514  f.;  xcv,  i,  pp.  30  f.,  131  f.,  221  f., 
321  f.,  418  f.,  and  the  supplement,  p.  593  f).  These  have  been  bound  into  a  pamphlet  (with 
some  leaves  of  the  Biog.  Dram.)  by  J  oseph  Haslewood ;  it  is  in  the  Guildhall  Library.  Mr.  Hasle- 
wood's  MS.  note  in  front  of  this  volume,  records  that  J .  G.  Nichols  helped  his  grandfather  in 
this  task. 

Gough,  Brit.  Top.,  p.  339  f .,  gives  an  incomplete  list  of  Lord  Mayor's  Shows  of  the  seven 
teenth  century,  which  is  not  without  misprints  and  other  inaccuracies.  My  own  list  in  the 
Bibliography  is  not  complete;  but  it  is  as  full  as  possible. 

1  J.  G.  Nichols,  p.  93.    (He  is  only  one  of  many  writers  to  make  this  statement.) 

2  New  Chronicle  (1811)  p.  337.    Cf.  Gregory's  Chronicle,  p.  67.    Here  the  date  of  the 
mayor's  presentation  at  the  Exchequer  is  given  as  37  Henry  III  (1252). 

3  Strype's  Stow  (1720)  ii,  p.  78.    Letter-Book  C,  p.  174,  has  a  record  of  the  presentation  of 
the  mayor  and  sheriffs  to  the  Constable  of  the  Tower  in  1303,  when  the  Barons  of  the  Ex 
chequer  were  absent.    This  was  "  pursuant  to  the  King's  writ  ...  14  October  29  Edw.  I. 
(A.D.  1301)."    Again,  in  1304,  mayor  and  sheriffs  were  "  admitted  "  by  the  Constable  of  the 
Tower.    (Ibid.,  p.  175  f.) 


THE  LORD  MAYOR'S  SHOW  5 

the  mayor  and  both  sheriffs.  "  And  this  was  done  a  xiiij  daies  afore  the  feste  of 
seynte  John  pe  Baptiste.  And  than  the  kyng  called  to  hym  a  knyght  named  sir 
Edwarde  Dalyngrigge  and  made  him  warden  and  gouernour  of  the  citee  & 
chaumbre  of  London  and  ouer  his  people  therynne,  and  so  he  kepte  that  Office 
but  iiij  wekes  because  he  was  so  tendir  &  gentill  vnto  the  citezeynes  of  London, 
wherfore  the  Kyng  deposed  him  and  made  sir  Bawdewyn  Radyngton  knight 
/>at  was  counteroller  of  the  Kynges  housholde  wardeyne  &  gouernour  of  his 
Chaumbre  and  of  >e  people  therynne  .  .  .  vn  to  the  tyme  of  the  mayres  electioun 
nexte.  Than  William  Staundon  was  chosen  mayre.1  and  ^is  Gilberte  Mawefelde 
&  Thomas  Newenton  Shirriefes.  And  than  the  Mayre  and  the  ij  Shirrieves  & 
all  the  Aldremen  with  all  the  worthy  craftes  of  London  wenten  on  foote  vn  to 
the  toure  yate  and  />en  come  oute  the  Constable  of  the  Toure,  and  gafe  the 
mayre  and  >e  Shirrieves  her  othe  &  charge  as  >ey  shulde  haue  take  in  pe  Es- 
cheker  of  Westmynster  in  the  kynges  courte  of  his  Justices  &  Baronns  of  >e 
Cheker,  and  >an  wente  they  home  ageyn." 2 

Considering  the  many  opportunities  which  the  guilds  and  civic  officials  had, 
of  participating  in  "  royal-entries  "  and  Midsummer  Shows,  it  is  not  hard  to 
understand  the  possibility  of  their  seeking  to  avoid  the  expense  of  adding  pag 
eants  to  the  annual  "  riding  "  to  Westminster,  or  to  the  Tower,  when  the 
mayor  took  the  oath  of  office.  But  there  was  a  certain  state  to  these  processions; 
even  if  they  did  not  include  pageants,  they  seem  to  have  included  minstrels;  and 
the  chief  magistrate  was  accompanied  by  the  beadle  of  his  company,  on  horse 
back,  his  brother-aldermen,  and  other  city  functionaries,  besides  the  crafts. 
The  sheriffs  were  also  accompanied  by  minstrels,3  but  there  was  no  pageantry 
in  connection  with  these  "  ridings  "  until  the  sixteenth  century. 

The  processions  on  horseback  continued  until  1422.  "  On  the  death  of 
Henry  V,"  says  Herbert,4  "  the  sheriffs-elect,  Eastfelde  and  Tattersalle,  were 


1  Cf.  above,  vol.  i,  p.  131. 

2  Bodl.  Ashm.  MS.  793,  fol.  128  et  seq. 

3  Cf.  the  "  Wardens'  Account  in  the  Reign  of  Henry  IV.,  anno  1401,"  printed  in  the  ap 
pendix  of  Heath's  Account  of  the  Grocers'  Company  (first  ed.,  p.  310;   third  ed.,  p.  409).    I 
copy  some  items: 

' '  Urn.  paie  por.  vij  mynstrales  por.  chevaucher  avec  les  viscom*  R.  Chychley  &  S.  Marlowe, 
xlvjs.  viijd." 

"  Itm.  nous  avons  paie  por.  le  chevache  du  John  Walcote  Mayr,  por.  vj  mynstralles  por. 
lor.  saleire,  xls. 

"  Itm.  por.  lor.  chaprons  and  po  lor.  fessure,  viijs. 

"  Itm.  po.  lo.  dyner  &  por.  vyn  po.  le  chemyn,  xxid. 

"  Itm.  por.  un  cheval  por.  le  bedyl,  iiijrf." 

Perhaps  the  "  vyn  po.  le  chemyn  "  is  for  a  conduit. 

4  Herbert,  i,  p.  98  (cited  by  Humpherus,  i,  p.  43).    The  date  of  this  is  31  August  1422. 
"  To  take  their  charge  "  undoubtedly  means  their  oath  of  office;  it  probably  does  not  refer 
to  any  duties  in  connection  with  the  royal  funeral.    But  these  funerals  were  —  as  Herbert 


6  ENGLISH  PAGEANTRY 

ordered  not  to  ride  on  horse  to  take  their  charge  at  Westminster,  as  had  been 
accustomed,  but  to  go  in  barges,  with  their  companies,  which  were  the  mercers' 
and  the  drapers,'  which  they  did.  The  drapers  are  described,  on  this  occasion, 
to  have  '  been  hooded  in  white,  and  needle  pointed,' 1  and  the  sheriffs'  sergeants 
to  have  been  '  gowned  in  the  same.'  The  mercers  wore  '  their  own  clothing.' ' 

The  sheriffs  were  not  the  only  ones  to  make  the  journey  by  water.  Herbert 
continues:  "  The  brewers'  records  give  the  following  interesting  account  of  the 
king's  funeral.  '  William  Walderne  was  chosen  mayor  on  St.  Edmund's  Day, 
when  it  was  ordered  that  the  aldermen  and  crafts  should  go  to  Westminster  with 
him,  to  take  his  charge,  in  barges,  without  minstrels.''  " 2  Apparently  the  royal 
obsequies  followed  closely  the  ceremonies  of  installing  the  mayor:  "  after  the 
charge,  to  be  present  at  the  Bang's  funeral."  We  read  in  the  records  of  the 
Grocers'  Company  for  i  Henry  VI,  —  Robert  Otle[y]  and  Thomas  Selove  being 
wardens, —  "Item,  paie  pur  toutes  lez  torchez  pur  nostre  art  Encountre  le 
morte  de  le  Roy  Henri  Ve,  xxxixs.  vjd.  .  .  .  Item  paye  a  pers  West  pur  dyuers 
Barges  pur  nostre  art  vers  Westmenstre  ouek  le  Meir  et  lez  Scherevez  pur  ij 
anz  et  pur  servoys  pur  lez  bargeman,  xvjs,  viijd."3  It  became,  apparently,  a 
custom4  for  the  mayor  to  go  to  Westminster  by  water  very  shortly  after;  but 
the  "  riding  "  was  also  kept  up,  as  several  entries  show. 

Humpherus  records 5  "  a  serious  conflict  ...  on  London  bridge  in  the  morn 
ing  of  the  30  October  [1425]  .  .  .  the  day  of  the  Mayor's  procession  to  West 
minster.  The  servants  of  the  Bishop  of  Winchester  proceeding  from  his  palace 
at  Bankside,  attempted  to  enter  the  bridge  gate  by  force,  but  being  repelled, 
they  returned  with  a  large  body  of  archers  and  men  at  arms,  and  assaulted  the 
bridge  as  a  hostile  city.  All  London  was  speedily  in  arms,  headed  by  the  pro 
tector,  the  Duke  of  Gloucester,  but  a  further  conflict  was  avoided  by  the  pru 
dence  and  mediation  of  the  mayor  and  aldermen,  who  rode  between  the  protector 

(loc.  tit.}  points  out  — "  a  species  of  state  solemnity,  at  which  the  attendance  of  the  com 
panies  was  generally  required." 

Stow,  Annals,  pp.  362  and  363,  describes  the  journey  from  France  with  the  body  of  the 
king,  and  records  its  arrival  in  London  "  about  the  tenth  of  November."  Herbert,  loc.  tit., 
notes  that "  the  royal  corpse  was  brought  to  London  on  Thursday,  Nov.  5." 

1  Herbert  does  not  give  his  authorities,  which  we  may  assume  to  be  the  records  of  the 
guilds  he  names. 

2  Ibid.,  loc.  cit.    "  Every  householder,"  he  goes  on  to  say,  "  was  charged  to  provide  a 
black  or  russet  gown  and  a  black  hood;  and,  after  the  charge,  to  be  present  at  the  king's 
funeral.    Certain  of  the  crafts  were  ordered  to  find  200  torches  for  the  funeral.    The  brewers 
provided  eight  torches  for  the  occasion,  weighing  138  Ib.  of  wax,  price  515.  gd.  .  .  ." 

3  Kingdon,  Facsimile,  i,  p.  149. 

4  Ibid.,  i,  p.  159,  —  the  records  of  the  Grocers  from  the  day  of  John  the  Baptist,  3  Henry  VI, 
to  the  same  day  the  next  year,  —  where  among  the  items  we  find  one  "  for  bothyre  (boat  hire) 
to  Westmynstre  for  terment  (the  interment)  of  be  kyng  et  diuerse  tymes  w*  be  meyre." 

5  Hist.  Watermen,  i,  p.  44.    We  may  assume  that  his  authority  is  the  records  of  the  Com 
pany. 


THE  LORD  MAYOR'S  SHOW  7 

and  the  Bishop  eight  times,  ere  they  could  bring  them  to  any  agreement,  as  the 
feud  between  them  had  been  of  some  standing,  and  had  caused  several  affrays." 

The  Grocers'  records,  in  the  accounts  extending  from  5  June,  1427,  to  6  July, 
1428,  show  an  item  "  For  diuerse  costis  and  mynstrelles  atte  Shirevis  ridyng, 
summa  iijli.  xixs.  iiijd."1  In  1432,  the  Grocers  "Payd  for  hors  here  for  owr 
bedull  at  pe  Rydyng  of  the  Mayre  and  Sherevys,"  two  shillings.  The  next  year, 
they  "  paide  for  an  hors  at  the  Meiris  and  shrevis  Ridyng  for  John  Dalton," 
three  shillings,  sixpence.2 

The  Grocers'  records  for  the  period  25  July,  1434,  to  26  July,  1436,  show  that 
there  was —  at  any  rate  for  the  sheriffs —  a  water  procession  "  at  least  nineteen 
years  before  their  supposed  introduction  by  Sir  John  Norman."  3  In  1435,  the 
Grocers  "  paid  be  the  handys  of  John  Godyn  For  mynstralles  and  here  hodys, 
and  amendyng  of  Baneris  And  hire  of  barges  w1  Thomas  Catworthe  and  Robert 
Clopton  chosen  Shirerevis,  goyng  be  watir  to  Westmynster,  iiij/j.,  vjs.  iijd."  In 
the  wardens'  accounts  of  the  Grocers'  Company  from  1437-1439,  we  find  that 
they  "  payde  For  barge  hyr  to  Westmester  For  the  obyt  of  ye  kyng  and  ye 
shrevys  for  ij  yer,  xixs."  4 

These  entries  will  be  enough  to  show  that  the  water-procession  was  common 
enough  —  with  certain  companies,  at  any  rate  —  before  Sir  John  Norman  made 
the  voyage  to  Westminster. 

It  is  possible  that  the  stir  made  by  the  voyage  of  Sir  John  Norman,  in  1453, 
was  due  to  the  fact  that  he  owned  the  barge,  while  hitherto,  and  for  some  time 
afterwards,  it  was  usual  for  the  companies  to  hire  their  barges.  He  seems  to 
have  been  the  first  Draper  to  have  gone  by  water  to  take  his  oath. 

Fabyan  and  Stow  note  that  on  the  morrow  of  Simon  and  Jude,  "  the  accus 
tomed  daye  when  ye  newe  mayer  vsyd  yerelye  to  ryde  with  great  pompe  vnto 
Westmynster  to  take  his  charge,"  5  the  Mayor,  Sir  John  Norman,  made  his 
progress —  "  the  first  mayor  that  was  rowed  by  water  to  Westminster  to  take 
his  Oath:  he  caused  a  Barge  to  be  made  at  his  owne  charge,  and  euery  Company 


1  Kingdon,  Facsimile,  i,  p.  166.    As  the  "  ridings"  usually  came  in  the  autumn,  this  may 
be  dated  1427. 

2  Kingdon,  op.  tit.,  ii,  pp.  227  and  230. 

3  Fairholt,  pt.  i,  pp.  7,  8,  and  pt.  ii,  p.  243;  cf.  Herbert,  i,  p.  100  and  note.  Arundell,  p.  297, 
points  out  that  Fairholt  has  shown  an  earlier  water-procession  than  Norman's,  but  he  dates 
this  procession  1436.    Humpherus,  i,  p.  46,  wrongly  records  this  water-procession  under  the 
year  1434.    Stow  is  copied  by  Orridge,  p.  221,  where  he  records  that  Catworth  and  Clopton 
were  sheriffs  in  1435. 

My  citation  of  these  records  is  made  from  Kingdon,  Facsimile,  ii,  p.  236.  Besides  the 
reprint  in  Fairholt,  they  may  be  found  in  Heath  (3d  ed.)  p.  417.  Fairholt  is  wrong  in  saying 
that  they  commence  on  25  July,  1435;  Kingdon  (ii,  p.  234)  shows  that  they  cover  two  years, 

(I434-36)- 

4  Kingdon,  Facsimile,  ii,  p.  253.    This  can  hardly  refer  to  the  death  of  Henry  V,  unless 

the  guild  attended  a  requiem  mass. 

6  Fabyan,  Chronicle  (1811)  p.  628;  cited  by  Fairholt,  pt.  ii,  p.  243. 


8  ENGLISH  PAGEANTRY 

had  severall  Barges  well-decked  and  trimmed,  to  passe  along  with  him.  For 
ioy  whereof,  the  Watermen  made  a  Song  in  his  prayse."  J  It  is,  of  course,  pos 
sible  that  the  largess  which  Sir  John  presumably  distributed  among  the  water 
men  accounts  for  their  ballad.  At  any  rate,  tradition  and  the  early  historians 
are  wrong  in  assigning  to  him  the  first  civic  journey  on  the  Thames. 

Humpherus  notes 2  that  in  1455  "  the  procession  by  water  to  Westminster  . .  . 
was  accompanied  by  the  barge  of  the  Carpenters'  company."  Without  stating 
his  authority,  he  adds  that  "  the  company  had  had  a  barge  for  some  years  pre 
viously  ";  but  Jupp,  giving  the  same  entries,  says  that  the  "  first  mention  "  of 
the  Company's  "  attending  at  Westminster  is  in  1455."  3 

After  Norman's  journey,  no  Draper  was  inaugurated  mayor  until  1481;  and 
in  that  year  —  for  the  first  time  —  the  books  of  the  Company  mention  a  mayor 
making  his  inaugural  procession  to  Westminster  by  water.4  "  As  Norman's 
barge  was  not  then  thirty  years  old,"  says  Herbert,  "  it  is  not  improbable  that 
it  might  be  used  on  this  occasion.  If  so,  we  learn  from  the  same  and  other  entries 
that  it  was  then  customarily  covered  on  civic  triumphs  with  blue  cloth  (plunket), 
and  on  royal  ones  with  red  (murrey)."  5 

Under  the  year  1483,  Humpherus  records  6  that  "  from  the  commencement 


1  Stow,  Survey  (1618),  p.  939.  Herbert,  i,  p.  100,  note,  says  that  the  Grocers  hired  a  barge, 
not  building  one  of  their  own  until  1617.    The  entry  for  this  year  may  be  found  in  Kingdon, 
op.  cit.,  ii,  p.  347  —  paid  "  for  j  barge  to  Westmynster  w*  be  mayr  to  tak  his  charge,  xvs,  }d." 

Various  Lord  Mayor's  Show  pamphlets  by  Heywood,  Munday,  Middleton,  and  others 
repeat  Stow's  error.  Davey,  i,  p.  103,  saying  that  Norman, "  who  was  lame,"  invented  the 
water-procession,  is  but  one  of  the  modern  writers  who  have  fallen  into  this  error.  Hum 
pherus,  i,  p.  50  —  citing  Fabyan  —  dates  the  first  appearance  of  Sir  John  Norman's  barge, 

1454- 

Gough,  Brit.  Topog.,  i,  p.  675,  notes  that  there  is  a  drawing  of  Norman's  Show  on  the  river 
in  the  Pepysian  Library.  He  is  quoted  by  Fairholt,  p.  8,  n.  2;  cf.  ibid.,  pt  i,  p.  114,  n.  i,  and 
pt.  ii,  pp.  244  and  284. 

2  Op.  cit.,  i,  p.  51,  citing  the  Carpenters'  records. 

3  Hist.  Carpenters,  p.  31.    Arundell,  p.  297,  cites  the  books  of  the  Carpenters'  Company 
to  show  that  in  1460  (39  Henry  VI)  they  paid  four  shillings  for  "  hire  of  barge  to  Westminster 
with  the  shireves."    This  is  also  cited  by  Humpherus,  i,  p.  52,  and  Jupp,  p.  31;   the  latter 
adds  another  item  from  the  books  of  the  Company,  under  date  of  1471:   "  Itm.  spent  at 
tavern  whan  the  mair  cam  fro  Westm.  iJ5.  iiijd." 

4  Herbert,  i,  p.  453.    As  Norman  furnished  his  barge  at  his  own  expense,  we  should  not 
expect  to  find  it  mentioned  in  the  Company's  books. 

5  Minstrels  accompanied  the  mayor  to  Westminster  this  year,  and  "  for  a  rewarde  to  the 
bargemen  for  going  to  Westminstr  with  the  sheriffs  to  accompany  the  mayor  aforesaid,  ijs. 
iiijrf,"  were  given.    (Entries  from  the  Drapers'  books,  printed  by  Herbert,  loc.  cit.)    "  The 
sheriffs,"  Herbert  adds,  "  were  generally  accompanied  in  their  water-processions  by  minstrels 
or  trumpets,  with  crimson  or  red  hats,  and  headed  by  their  marshal,  in  the  Company's  barge, 
decorated  with  banners,  pennons,  and    streamers,  fringed  with  silk  and  '  beaten  with 
gold.' " 

6  Op.  cit.,  i,  p.  59  f. —  without  giving  his  authority. 


THE  LORD  MAYOR'S  SHOW  9 

of  the  mayor's  procession  by  water,  the  question  whether  the  Merchant  Tailors' 
or  Skinners'  Company  should  have  precedence  in  the  procession  had  been  a 
matter  of  dispute;  a  great  feud  having  existed  between  those  companies,  one 
barge  always  attempting  to  get  before  the  other  barge;  this  year  the  rival  com 
panies  came  to  blows  which  resulted  in  bloodshed  and  loss  of  life.  In  conse 
quence  of  this,  the  matter  was  referred  to  the  mayor  for  arbitration,  whereupon 
he  decided  that  for  the  future  the  two  guilds  should  alternately  have  precedence, 
and  that  each  year  on  approaching  Westminster,  they  should  lash  their  two 
barges  together  and  drink  as  a  toast  '  The  Merchant  Taylors  and  Skinners; 
Skinners  and  Merchant  Taylors;  root  and  branch,  may  they  flourish  forever.' 

"  For  a  long  time  this  custom  has  continued,  and  latterly,  when  the  procession 
by  water  became  superseded  by  one  on  land,  the  two  companies  continued  the 
friendly  greeting,  by  inviting  each  other  to  a  banquet  every  year." 

THE  SIXTEENTH  CENTURY 

In  1515,  on  31  January,  appeared  "  the  order  and  direction  taken  ...  by  the 
Mayor  and  Aldermen  of  and  for  all  the  Craftes  and  Mysteryes  ensyuing,  for 
they  [sic]  going  as  well  as  in  all  processions,  as  in  all  other  going,  standynge,  and 
rydynge,  for  the  businesses  and  causes  of  this  citie.  The  seyd  order  and  direction 
to  be  from  hensforth  fermely  observed  and  kepte.  Provided  always  that  the 
Felyship  whereof  the  Mayre  for  the  yere  according  to  the  old  custome  shall 
have  pre-eminence,  in  going  afore  all  other  Felyshippes  in  all  places  during  the 
tyme  of  mayroltie."  1  The  list  of  companies  follows. 

A  fragment  of  what,  to  my  mind,  is  rather  a  "  royal-entry  "  than  a  Lord 
Mayor's  Show,  has  been  printed  from  a  Trinity  College  (Cantab.)  manuscript 
by  Elizabeth  D.  Adams.2  That  this  is  a  civic  triumph,  written  for  a  London 
Salter  in  1531  or  1542,  I  cannot  accept:  I  have  elsewhere  suggested  that,  if  it 
be  not  a  provincial  mayoralty  show,  it  was  probably  part  of  the  festivities  with 
which  a  sovereign  —  perhaps  Henry  VII  —  was  welcomed  into  some  provincial 
city.  The  reference  to  salt  —  which  is  the  salt  of  Wisdom  —  is  purely  figurative; 
various  phrases  suggest  that  civil  strife  has  just  ended;  such  a  phrase  as  "  your 
honor,  worship,  and  royal  majesty  "  would  not  be  applied  to  a  mayor,  while 
"  mayralte  "  might  conceivably  be  used  as  a  synonym  for  reign —  particularly 
if  the  sovereign  owed  his  position  to  the  support  of  the  people.  The  fact  that 
the  manuscript  is  in  an  early  sixteenth-century  hand  does  not  rule  out  the 
possibility  that  the  speech  itself  was  delivered  much  earlier. 


1  W.  M.  Williams,  Annals  Founders,  p.  213,  quoting  from  the  City's  records. 

2  Elizabeth  D.  Adams, "  A  Fragment  of  a  Lord  Mayor's  Pageant,"  in  Modern  Language 
Notes  for  May,  1917,  p.  285.    Cf.  my  note  on  this  paper  in  Mod.  Lang.  Notes  for  December, 
1919,  p.  501.    The  "  fragment  "  is  reprinted  from  Trin.  Coll.  Cantab.  MS.  B.  15.39  (James's 
Catalogue,  no.  181,  pt.  iii). 


10  ENGLISH  PAGEANTRY 

From  the  middle  of  the  fifteenth  century,  there  seems  to  have  been  an  in 
crease  in  the  splendor  of  the  water-progresses,1  but  no  pageantry  has  as  yet  been 
introduced.  As  was  the  case  with  the  "  royal-entry,"  the  soil  is  prepared  for  it 
by  a  growing  ceremony  and  display  in  the  procession  itself.  When  the  occasion 
was  deemed  worthy  of  such  expense,  the  civic  show  received  pageants  both  from 
the  "  royal-entry  "  and  the  Midsummer  Show,  to  both  of  which  the  civic  bodies 
contributed.2 

In  1532,  the  Pewterers  "  pd.  for  the  Barge  hire  whan  the  maire  went  to  West- 
menster  to  take  his  othe,  xvjs."  3  Norman's  barge  seems  to  have  been  decayed 
in  1533,  in  which  year  the  Drapers  agreed  to  hire  the  great  barge  of  the  Arch 
bishop  of  Canterbury  "  at  such  tyme  as  we  shall  have  nede  to  occupy  it,  either 
with  the  mayer  or  shneves,  or  for  any  other  busines."  4 

The  passage  in  Hall,  which  describes  the  entry  of  Anne  Boleyn,  this  same 
year,  contains  a  phrase  which  has  been  misunderstood  by  some  writers,  and 
held  to  suggest  that  there  were  earlier  mayoralty  "  shows  "  than  I  believe  to 
have  been  the  case.  Henry  wrote  the  mayor  and  citizens  "  to  make  preparacion 
aswell  to  fetch  her  grace  from  Grenewyche  to  the  Tower  by  water  as  to  see  the 
citie  ordered  and  garnished  with  pageantes  in  place  accustomed  [i.  e.,a.t"  royal- 
entries  ";  not  at  the  inauguration  of  a  mayor]  .  .  .  there  was  a  common  counsail 
called,  and  comaundement  was  geuen  to  the  Haberdashers  (of  which  crafte  the 
Maior  sir  Stephen  Pecocke  then  was)  that  they  should  prepare  a  Barge  for  the 
Batchelers  with  a  wafter  and  a  foyst 5  garnished  with  banners  and  streamers 
likewyse  as  they  vse  to  dooe  when  the  Maior  is  presented  at  Westminster  on 
the  morowe  after  Symon  and  lude."  6  This  last  phrase  refers,  not  to  Lord 
Mayor's  pageants,  but  to  the  barge;  and  we  have  seen  that  water-processions 
were  common  after  1422.  We  cannot  assume  from  this  passage  that  by  1533 
there  were  pageants  in  the  mayoralty  shows. 

'  To  a  modern  imagination,"  says  Mr.  Chambers,7  "  the  type  of  civic  pag 
eantry  is  the  annual  procession  and  the  installation  of  the  Lord  Mayor  in  No- 

1  Cf.  above,  vol.  i,  p.  160,  for  mention  of  the  barges  at  the  coronation  of  Elizabeth  in  1487. 
There  was  also,  on  this  occasion,  a  dragon  spouting  fire  into  the  Thames. 

2  We  have  already  noted  (vol.  i,  p.  39)  Sir  Laurence  Aylmer's  pageant  of  1516,  which 
seems  to  have  been  part  of  the  Midsummer  Show  of  that  year,  though  Fairholt  calls  it  one  of 
the  earliest  notices  of  a  pageant  exhibited  on  Lord  Mayor's  Day. 

3  Welch,  i,  p.  124. 

4  Herbert,  i,  p.  454.    Mr.  Edmund  Wade,  the  archbishop's  bargeman,  was  to  furnish  28 
oars  and  cushions,  and  to  receive  "  for  himself  and  .  .  .  oars  "  at  every  voyage  "when  we 
shall  have  nede  .  .  .  wth  our  compaignie  in  the  lyvery,  the  sum  of  xxx8." 

5  Fairholt,  pt.  i,  p.  10,  explains:  "  a  barge,  or  pinnace,  propelled  by  rowers."    Cf.  The 
Knight  of  the  Burning  Pestle,  v,  2,  97:  "  next  year  I'll  have  him  captain  of  the  galley-foist,  or 
I'll  want  my  will." 

6  Hall,  p.  798,  cited  by  Fairholt  and  other  writers.    On  this  entry,  see  above,  vol.  i,  pp. 
1 80  ff. 

7  Medicevol  Stage,  ii,  p.  165. 


THE  LORD  MAYOR'S  SHOW  1 1 

vember 1  .  .  .  This  was  important  enough  from  the  middle  of  the  sixteenth 
century  .  .  .  but  its  history  cannot  be  taken  much  further  back,  and  it  is  exceed 
ingly  probable  that  when  the  Midsummer  Show  came  to  an  end  in  1538,  the 
pageants  were  transferred  to  the  installation  procession.  The  earliest  clear 
notice  is  1540,  when  a  pageant  of  the  Assumption,  perhaps  that  which  had 
already  figured  at  the  Midsummer  Show  of  1523,  was  used." 

Herbert  quotes  from  the  books  of  the  Drapers,  that  the  "  election  as  Mayor 
of  Sir  William  Roche  in  1540  ...  is  stated  to  have  been  '  with  the  gretyst  and 
fayrest  elec'ion  amongst  the  co'es  (commons) 3  that  hathe  byn  sene.' '  If 
there  were  a  pageant  on  this  occasion,  we  may  assume  it  was  that  used  in  earlier 
Midsummer  Shows. 

The  Ironmongers'  books  record,  under  date  of  1540,  "  Payde  fFor  oure  barge 
ffor  ij.  yers  to  Westmynster,  xxxixs."  4 

Civic  PAGEANTRY  AT  NORWICH 

We  may  note  an  example  of  civic  pageantry  at  Norwich,  just  at  the  time 
when  the  Midsummer  Show  in  London  is  becoming  the  Lord  Mayor's  Show. 
Were  there  more  entries  on  this  matter,  it  might  more  readily  be  presumed  that 
these  pageants  were  connected  with  the  Midsummer  Show  (and  perhaps  they 
are) ;  the  civic  pageants  of  Chester  are  mentioned  in  connection  with  this  festival, 


1  The  date  was  changed  from  the  2gih  of  October  with  the  change  of  the  calendar  in  1752. 
It  is  not  clear  that  Walderne,  mayor  in  1422,  took  his  oath  on  St.  Edmund's  Day  (when  he 
was  elected) ;  if  he  did,  it  is  possible  that  the  king's  funeral  upset  the  usual  arrangements. 

2  Cf.  Fairholt,  pt.  i,  p.  14:  "  In  1540,  the  Pageant  of  the  Assumption  which  had  figured 
in  the  annual  show  at  the  setting  of  the  Midsummer  Watch  in  1521-22,  appears  to  have  been 
borne  before  the  Mayor  from  the  Tower  to  Guildhall."    Herbert,  i,  p.  457,  is  more  cautious; 
this  pageant "  appears  to  have  been  that  of  the  Assumption  .  .  .  whether  it  was  precisely  the 
same  as  at  the  Midsummer  Watch,  we  are  left  to  guess."    The  Assumption  and  St.  Ursula 
were  shown  in  1522,  (see  above,  vol.  i,  p.  40  and  n.  3);  Our  Lady  appeared  in  1534  with  St. 
Elizabeth  (vol.  i,  p.  41). 

3  Professor  Kittredge  suggests  companies  which  is  a  more  likely  expansion  of  co'es.    But 
it  must  be  admitted  that  Herbert  had  reason  for  his  expansion  into  commons.    Cf.  Liber  Albus 
i,  p.  43,  (Bk.  i,  pt.  i)  cap.  xvi:  "  En  droit  del  eleccion  des  Viscountz  solent  les  Mair,  Recordour, 
Audermans,  et  Communes  assemblez  le  jour  de  Seint  Matheu  ..."  "  .  .  .  Et  si  contraduersie 
sourde  entre  les  communes  ..."    [Cf.  ibid.,  iii,  i,  fol.  12  a:  "As  concerning  the  election  of 
Sheriffs  —  the  Mayor,  Recorder,  Aldermen  and  Commons  are  to  be  assembled  .  .  .  And  if 
any  controversy  arise  between  the  commons  as  to  the  election  .  .  ."]  Cf.  Letter-Book  C,  p.  174: 
in  1303  "  John  le  Blund  elected  to  the  mayoralty  ...  by  ...  the  whole  Commonalty."  Kemp, 
Black  Book  of  Warwick,  p.  4,  makes  the  same  expansion:  "  The  Burgesses  assembled  in  their 
coen  (common)  hall ..." 

It  looks  as  if  the  "  commons  "  were  the  regular  name  for  the  electoral  body;  so  that  the 
Drapers  might  well  have  spoken  of  the  "  greatest  and  fairest  election  among  the  commons." 
But  the  abbreviation  seems  a  more  natural  one  for  companies. 

4  Nicholl,  Ironmongers,  p.  57. 


12  ENGLISH  PAGEANTRY 

as  we  have  noted.1  In  1556  and  1563,  the  Mayor  of  Norwich  was  clearly  in 
stalled  with  pageantry.  In  1540,  "  Thomas  Nicholas,  of  his  gode  mynde,  hath 
gyven  to  the  Com'naltie  his  Pagent  called  the  Moremayd,  the  xxiiijth  day  off 
Maye  A°  xxxijnd  R.  R.  Hen.  viij.,  in  the  presens  off  Mast1  Sotherton  &  Thomas 
Conye."  2  The  donor  is  probably  Thomas  Nicolles,  who  is  mentioned  in  the  list 
of  Cordwainers  admitted  at  the  Feast  of  the  Invention  of  the  Holy  Cross  (3  May) 
12  Henry  VIII  (i52o).3 

Whether  or  not  it  was  a  custom  to  exhibit  pageants  when  the  Norwich  mayors 
took  office  is  not  clear;  in  1545  there  was  "  pd  for  the  chargis  of  a  tryumphe 
made  on  trynyte  sonday,  for  the  peace  concludyd  between  Inglond  and  Ffrance; 
&  fyrst,  for  astyll 4  C  .  .  .  iiijs."  There  seems  to  have  been  no  pageantry  on  this 
occasion,  though  the  four  waits  received  two  shillings  "  for  ther  paynes,"  and 
"  iij  Menstrells  at  Crystechurche  gate  "  were  given  "  xijd."  5 

It  is  hard  to  say  whether  the  pageantry  in  1 546  was  in  honor  of  the  mayor,  or 
not.  There  are  some  entries  in  the  MS.  Chamberlain's  Book  (for  the  years  1541 
to  1550)  under  this  year:  "  Item,  to  Robt.  Nycholls,  for  his  horses  caryeng  a 
pageant  of  Kyng  Salamon  about  processyon,  xijd. 

"  Item,  to  iij  men  that  toke  payn  about  the  forsayd  pageant,  and  to  ij  men 
that  bare  the  moremayde,  xxd;  for  sope,  nayles,  lyne,  peynts,  &  other  thyngs 
for  the  pageant,  xd.  .  .  . 

"  Itm,  for  mete  &  drynke  for  iiij  persons  with  chargis  of  havyng  the  pageant 
out  &  inne,  xiiijd." 

THE  TITLE  "  LORD  MAYOR  "  OF  LONDON 

About  1540  the  title  "  Lord  Mayor  "  was  applied  to  the  chief  magistrate  of 
London.  There  are  no  letters  patent  conferring  the  title  upon  him;  "  it  was 

1  See  above,  vol.  i,  pp.  43  ff.,  esp.  p.  47,  n.  3. 

2  Court-Book  v  (1540-49)  p.  4:  cited  by  Ewing,  p.  7.    Hudson-Tingey,  ii,  p.  168,  misprint 
the  date  22  May,  1540;  it  is  clearly  24  in  the  MS. 

3  Old  Free  Book,  fol.  122  b.    Cf.  Hudson-Tingey,  ii,  p.  168,  n.  2:  "  Nicholas  was  a  cord- 
wainer."    Ibid.,  ii,  p.  230  (Old  Free  Book,  fol.  162),  enumerates  the  Norwich  pageants:   that 
of  the  "  Tanners,  Coryours,  Cordwaners  "  is  "  Moises  and  Aron  w*  the  children  off  Israel  and 
Pharo  w1  his  Knightes."    [The  same  enumeration  of  pageants,  made  from  the  same  source, 
may  be  found  hi  Norf.  Arch.,  iii,  p.  8.] 

The  "  mermaid  "  is,  perhaps,  one  of  the  inhabitants  of  the  Red  Sea. 

Nicholas  was  neither  Mayor  nor  Sheriff:  see  F.  Blomefield  (1806)  iii,  pp.  191  f .,  and  218  f ., 
for  lists  of  the  mayors  and  sheriffs  temp.  Hen.  VII  and  Hen.  VIII;  also  Le  Strange,  Norfolk 
Official  Lists  (Norwich,  1890).  In  neither  does  the  name  of  Nicholas,  or  Nichols,  occur. 

4  Ewing  notes"  billet  wood."  (p.  ii). 

5  Chamberlain's  Book  1541-1550,  fols.  214,  215.    Printed  in  Ewing,  p.  8  f. 

6  Ckamb.  Bk.  (1541-50)  fol.  249.    Cf.  Ewing,  p.  13.    The  mermaid  is  presumably  that 
given  the  city  six  yars  before. 

The  election  of  mayor  at  Norwich  (i  May)  is  described  from  a  1415  document  in  Hudson, 
i,  p.  94  f .  No  pageantry  is  mentioned.  A  sword  might  be  carried  before  the  mayor  save  in 
the  presence  of  the  king  (ibid.,  i,  pp.  Ixi  and  32). 


THE  LORD  MAYOR'S  SHOW  13 

not  definite  but  evolutionary  in  its  origin,  and  .  .  .whereas  the  prefix  had  been 
more  or  less  regularly  adopted  in  the  official  minutes  from  about  1535,  it  did 
not  come  into  general  use  in  the  outer  world  until  some  ten  years  later,"  says 
Mr.  Beaven.1  He  refers  to  the  expression  "  coram  domino  maiore,"  which  was 
used  in  I283,2  and  notes  that  before  30  May,  1545,  Wriothesley  never  uses  the 
title  Lord  Mayor,  and  after  8  June,  1545,  he  never  uses  anything  else.  Sir  W.  H. 
St.  John  Hope  records  3  that  in  the  minute-books  of  the  Court  of  Aldermen  and 
the  Court  of  Common  Council,  the  title  was  used  as  early  as  1519,  but  not 
regularly  until  1540. 

1553  —  THE  FIRST  DEFINITE  "LORD  MAYOR'S  SHOW" 
HENRY  MACHYN'S  DESCRIPTION 

Henry  Machyn,  citizen  and  merchant-tailor  of  London,  has  left  us  an  ac 
count  of  the  first  definite  Lord  Mayor's  Show —  that  of  I553-4  On  29  October, 
the  new  Lord  Mayor  5  went  "  toward  Westmynter  [attended  by  the]  craftes  of 
London  in  ther  best  leveray  .  .  .  with  trumpets  blohyng  and  the  whets  6  playng 
...  a  goodly  fuyst 7  trymmed  with  banars  and  guns  .  .  .  waytyng  of  my  lord 
mayre  ['s]  barge  unto  Westmynster  [and]  all  the  craftes  bargers  with  stremars 
and  banars  [of  every]  craft,  and  so  to  the  Cheker,8  and  so  horn-wards;  my  lord 
mayre  landyd  at  Banard  Castyll9  and  [in  St  Paul's]  chyrche-yerd  dyd  hevere 10 
craft  wher  set  in  [array] :  furst  wher  ij  tallmen11  bayreng  ij  gret  stremars  [of]  the 
Marchand-tayllers  armes,  then  cam  on12  [with  a]  drume  and  a  flutt  playng,  and 
a-nodur  with  a  great  f  [ife?]  all  they  in  blue  sylke,  and  then  cam  ij  grett  wodyn13 


1  Aldermen  of  Lond.,  ii,  p.  xxxi.    Cf.  also  ibid.,  i,  p.  407;   ii,  p.  xxviiif.    His  careful  re 
searches  on  this  subject  allow  him  to  speak  with  authority.    I  may  refer,  also,  to  Humpherus  > 
i,  p.  63;  Sir  W.  H.  St.  John  Hope's  letter  in  the  London  Times  for  10  December,  1901,  p.  13, 
col.  6.  (which  is  cited  by  Davey,  i,  p.  103.) 

2  Letter-Book  A,  fol.  30  b;  Beaven,  ii,  p.  xxviii  f.,  and  p.  xxxi. 

3  In  his  letter  to  the  Times  already  referred  to. 

4  His  Diary  (1550-1563)  has  been  edited  by  J.  G.  Nichols,  from  Cotton  MS.  Vit.  F.  v, 
for  the  Camden  Society  (no.  xlii).    It  is  referred  to  by  Unwin,  p.  275;  Price,  p.  92;  Clode, 
ii,  p.  113  f .,  &c.    Cf.  Fairholt,  pt.  ii,  p.  244  f.,  and  Nichols's  note  in  the  Gentleman's  Maga 
zine  for  October,  1833  (ciii,  ii,  p.  315  f.).     This  passage  is  on  p.  47f. 

6  Sir  Thomas  White.    (Nichols.) 

6  Waits  (Nichols). 

7  Foist  or  pinnace  (Nichols),    Cf.  above,  p.  10,  n.  5. 

8  Exchequer.    (See  Nichols's  note  e  on  p.  96  of  the  Diary.) 

9  This  was  reproduced  in  the  1913  Show;  see  below,  p.  138. 

10  Every.     (Nichols.) 

11  Cf.  the  "  tall  men  "  of  the  1555  Show,  who  were  "  lyke  wodys"  —  or  "  wild-men"  — 
"  alle  in  gren." 

12  One.  (Nichols.) 

13  Wood-men  or  savage  men  of  the  wood.    Next  year  written  vodys  (Nichols).    These  are 
obviously, "  wild-men."    Cf .  above,  vol.  i,  pp.  72  ff.  —  especially  p.  77. 


14  ENGLISH  PAGEANTRY 

[armed]  with  ij  grett  clubes  all  in  grene,  and  with  skwybes  horning  1  .  .  .  with 
gret  herds  and  syd  here,2  and  ij  targets  a-pon  ther  bake  .  .  .  and  then  cam  xvj 
trumpeters  blohyng,  and  then  cam  [the  Mayor's  Company  ?]  in  [blue]  gownes, 
and  capes  and  hosse  3  and  blue  sylke  slevys,  and  evere  man  havyng  a  target  and 
a  gayffelyn  to  the  nombur  of  Ixx  .  .  .  and  then  cam  a  duyllyll,4  and  after  cam 
the  bachelars  all  in  a  leveray,  and  skarlett  hods;  and  then  cam  the  pageant  of 
sant  John  Baptyst 5  gorgyusly  [arrayed],  with  goodly  speches;  and  then  cam 
all  the  kynges  trumpeters  blowhyng,  and  evere  trumpeter  havyng  skarlet  capes, 
and  the  wetes  6  capes  and  godly  banars,  and  then  the  cratftes,  and  then  the 
wettes  playhyng,  and  then  my  lord  mayre['s]  offesers,  and  then  my  lord  mayre 
and  ij  good  henchmen,  and  then  all  the  aldermen  and  the  shreyffes,  and  so  to 
dener;  and  after  dener  to  Powlles  .  .  .  ." 

This  is  a  very  interesting  account  of  an  early  Lord  Mayor's  Show  —  the 
earliest  definite  one  we  have.  It  is  interesting  not  only  as  showing  the  seed  from 
which  so  many  splendid  triumphs  developed,  but  also  as  giving  us  a  glimpse  of 
what  the  ancestry  of  the  Show  probably  was.  In  the  "  royal-entry  "  the  plat- 


1  Squibs  burning. 

1  may  note  here  that "  squibs  and  crackers  "  in  the  streets  were  forbidden  by  a  mayoralty 
precept  of  25  October,  1684,  [now  preserved  in  the  Taylor  Collection  of  Broadsides  in  the 
Guildhall  Library,  (no.  99)].    The  dates  to  which  the  prohibition  applied  were  29  October, 

5  and  15  November.    A  mayoralty  precept  of  13  October,  1697 — preserved  in  the  same  col 
lection,  (no.  104)  — provides  that  "  no  Squibs,  Serpents,  or  any  other  Fire-Works,  shall  under 
colour  of  any  Day  of  Solemnity,  Festival,  or  other  pretence  whatsoever,  be  made,  sold,  flung 
or  fired  within  this  City  or  the  Liberties  thereof."    In  Repertory  cxxiii,  p.  574,  (under  date  of 

6  October,  1719) "  it  is  ordered  That  the  like  number  be  Printed  as  was  the  last  Year  of  a  Paper 
to  caution  the  Inhabitants  within  this  City  and  Liberties  against  throwing  Squibbs  or  other 
Fireworks  be  forthwith  Printed  and  Delivered  by  the  Beadles  of  the  respective  Wards  to  the 
several  Inhabitants  within  the  same."    Notices  in  much  the  same  words  may  be  found  in 
Repertory  cxvi,  p.  358  (21  Oct.,  1712);    Repertory  cxvii,  p.  396  (22  Oct.,  1713);    Repertory 
cxxxix,  p.  345  (7  Oct.,  1735),  etc.;  they  were  common  enough  during  the  eighteenth  century; 
and  Mayoralty  Precepts  of  the  early  nineteenth  century  contain  the  same  prohibitions.    Cf . 
e.  g.,  no.  138  in  the  Taylor  Collection  (dated  24  October,  1816);  nos.  139  and  140  (25  October, 
1826  and  16  October,  1827);  no.  143  (29  September,  1830)  — which  repeats  the  precepts  of 
1826  and  1827. 

2  Beards  and  side  (i.  e.,  long)  hair  (Nichols).    Perhaps  what  we  call  (side)  whiskers. 

3  Caps  and  hose  (Nichols). 

4  Devil  (Nichols).    It  is  almost  impossible  to  say  whether  this  figure  is  a  survival  of  the 
miracle-play  drawn  into  pageantry  by  the  influence  of  the  wild-man,  or  whether  it  helped  to 
make  the  "  wood-man  "  become  wild.    There  is  probably  some  connection  between  the  two; 
and  it  is  also  possible  that  if  this  devil  is  not  directly  from  the  miracle-play,  he  has  some  con 
nection  with  the  Vice  of  the  morality. 

6  The  patron  of  the  Merchant-Tailors.  We  may  recall  that  St.  John  was  given  a  trade 
symbolism  by  the  Grocers  in  the"  royal-entry  "  of  1392  (see  above,  vol.  i,  p.  131)  and  in  the 
1554  Show. 

6  Waits  (Nichols) ;  as  is  wettes  just  below. 


THE  LORD  MAYOR'S  SHOW  15 

forms  were  usually  stationary;  in  the  "  midsummer  show  "  -  which  began 
with  the  setting  of  the  watch  —  there  was  marching,  and  the  platforms  and 
giants  were  carried  about.  St.  John,  as  we  have  already  noted,  stood  on  a  plat 
form  in  1392  (when  a  Grocer  was  mayor)  to  greet  Richard  II;  Machyn's  ac 
count  shows  that  in  1553  he  occupied  a  moving  pageant  at  the  inauguration  of 
a  Merchant-Tailor.1  Giants  are  found  in  "  royal-entries,"  it  is  true —  but  they 
originated  in  folk-custom;  the  devil  here  may  have  come —  drawn  by  the  in 
fluence  of  the  "  wild-man  "  -  from  the  miracle  plays.2  Although  "  wildmen," 
waits,  and  henchmen  were  to  be  found  in  the  "  royal-entry,"  they  were  also  in 
the  Midsummer  Show;  and  there  is  little  doubt  that  the  latter  is  the  direct 
parent  of  the  civic  triumphs.3 

1554 — MACHYN  DESCRIBES  THE  SHOW 

In  1554,  "  a  goodly  pagant,  a  gryffen  with  a  child  lyung  in  harnes,  and  sant 
John  Baptyst  with  a  lyon,  and  ij  vodys 4  and  a  dulle  5  with  squybes  bornyng," 
and  music,  accompanied  the  "  nuw  lord  mayre  of  London,  master  Lyons  groser."  6 

1555  —  A  PAGEANT  AND  FOUR  "  WODYS  " 

The  next  year,  "  in  Powlles  cherche-yerde  ther  mett  the  bachelars  and  a 
goody  pagyant 7  and  a  Ixvi  men  in  blue  gownes,  and  with  goodly  targates  and 
gaffelynes  and  a  duwlle  8  and  iiij  talle  men  lyke  wodys  alle  in  gren,  and  trumpets 
playing  a-for  the  mare."  9 

1556 —  SIR  THOMAS  OFFLEY  INSTALLED  IN  THE  OFFICE  OF  MAYOR 

The  following  year,  on  28  October,  the  new  mayor  went  to  Westminster  by 
boat,  "  and  there  was  a  godly  pageant," 10  but  we  are  not  told  the  subject.  A 
few  notices  of  the  installation  of  Sir  Thomas  Offley  may  be  found  in  Clode's 
volume.  Directions  were  given  "  to  see  that  the  same  men  be  fornyshed  with 
children  that  shall  then  syng  and  playe  upon  instrumentes.  And  for  apparellyng 
of  them  accordyngly,  as  by  thadvice  of  my  lord  maiour  electe  shalbe  thoughte 

1  In  1554,  as  we  shall  see  directly,  he  appeared  again,  for  a  Grocer. 

2  At  Chester  —  where  the  influence  of  the  miracle-play  on  the  Midsummer  Show  is 
marked  —  there  were  devils;  which  is  one  of  the  reasons  why  Henry  Hardware  put  down  the 
show  in  1599  (see  above,  vol.  i,  p.  44). 

3  For  further  remarks  on  the  "  wild-man,"  see  above,  vol.  i,  p.  40,  n.  5,  and  pp.  72  ff. 

4  Wildmen  (Nichols). 

5  Devil  (Nichols). 

8  Machyn's  Diary,  pp.  72,  73.    The  lion  is  obviously  appropriate. 

7  It  looks  as  if  this  might  have  been  stationary;  —  cf.  the  pageant  which  "  stood"  in 
Paul's  churchyard  in  1557. 

8  Devil  (Nichols). 

9  Machyn,  op.  cit.,  p.  96. 

10  Ibid.,  pp.  117,  1 18;  cf.  Clode,  ii,  p.  262  f. 


1 6  ENGLISH  PAGEANTRY 

meate.  And  to  devise  other  conceytes  as  woodwardes  and  other  pastymes  to  be 
had  with  men  castyng  of  Squybes  of  fyre  afore  the  Bachelers."  1  In  connection 
with  the  mayor's  pageant,  "  '  Mr.  Leere,  the  schoolmaster  of  St.  Anthony's 
received  los.  for  the  children  which  played  at  the  Pageant.'  This  curious  item 
is  added, '  Paid  for  Rose  water  spent  and  occupied  aboute  the  children  and  hym 
that  rode  upon  the  camyll,  iiijs.  ijd.' ' 

1556  —  A  PROVINCIAL  MAYOR  INSTALLED  WITH  PAGEANTRY 

In  1556,  the  Mayor  of  Norwich  was  installed  with  pageantry.  This  is  an 
interesting  instance  of  what  seems  to  have  been  an  unusual  occurrence;  and  as 
the  account  is  to  be  found  in  a  rare  manuscript,  it  may  be  well  to  give  some  de 
tails  of  the  occasion.3 

There  were  three  pageants,  described  in  the  Mayors  Book  as  follows: 

"  This  Paggeante  was  doone  by  the  wagghts  of  the  Cytte  of  Norwich.  There 
was  a  SkafFoolld  made  at  Sancte  Peters  of  howndegate  Churche-Styelle,  rownnde 
like  a  pavillioun  Richele  adorned,  full  of  targetts  with  a  morien 4  on  the  toppe 
staunding  naked,  with  a  targett  and  a  greate  Darte  in  his  haunde;  wthin  the 
wch  stood  an  auncyente  personage  who  represented  Tyme,  having  the  speche 
to  the  Mayor,  as  he  cam  forby,  followinge  the  procession  as  ffolloweth."  Here 
follow  ten  verses,  composed  by  Mr.  Boucke,  schoolmaster.5 

"  There  was  in  the  persshe  of  Sc  John's  a  greate  pageant,  stoundinge  be- 
tweene  Mr.  Persses  and  Richard  Bats,  which  was  like  a  greate  castell  with  a 


1  Clode,  Hist.  Merchant-Taylors,  ii,  p.  263. 

2  Ibid.,  ii,  p.  269,  n.  2. 

3  The  rare  MS.  is  the  Mayors  Book  of  Norwich,  which  is  kept  in  a  safe  in  the  Town  Clerk's 
office.    It  is  a  pleasure  for  me  to  record  my  indebtedness  to  Arnold  H.  Miller,  Esq.,  Town 
Clerk  of  Norwich,  through  whose  kindness  I  was  allowed  to  see  this  treasure.    The  paragraphs 
I  cite  are  taken  from  pp.  139-143  of  this  MS. 

A  copy  done  by  an  eighteenth  or  nineteenth  century  scribe  —  not  always  accurate  in 
minor  details  —  may  be  found  in  the  Brit.  Mus.  (Addl.  MS.  27967  —  see  fol.  54).  This  MS. 
dates  the  event  1550,  and  is  headed,  "  Pageants  performed  before  Robt.  Rugge,  Mayor  of 
Norwich,  upon  the  day  of  his  entering  into  the  Office."  Ewing,  p.  14  f,  prints  the  account 
"  from  the  Corporation  Books  "  —  his  version  does  not  always  agree  with  that  in  the  MS. 
Mayors  Book.  He,  too,  says  that  these  pageants  were  "  exhibited  on  the  Guildday  of  Robert 
Rugg,  Mayor  in  1550."  The  Norwich  MS.  clearly  dates  this  1556. 

It  is  likely  that  this  show  was  planned  for  the  induction  of  Steward  into  his  third  term 
of  office  in  1556;  the  Mayors  Book  does  not  mention  the  name  of  Rugg  in  connection  with 
these  pageants.  I  feel  certain  that  a  scribe  misread  1556  —  or  carelessly  wrote  1550;  and 
that  afterwards  the  show  was  connected  with  Rugg  who  was  mayor  in  that  year. 

Augustine  Steward  was  mayor  in  1534,  1546,  and  1556  (see  Le  Strange,  Norfolk  Official 
Lists,  pp.  107,  108). 

4  Ewing  notes,  Moor.    This  was,  apparently,  an  image. 

5  It  is  possible  that  he  spoke  them  as  well.    The  MS.  (p.  140)  reads  "  yd  Bucke."  Perhaps 
yd  =  qd  =  quod  (quoth). 


THE  LORD  MAYOR'S  SHOW  17 

greate  gate  thereunder  like  a  Cytte  gate,  &  ouer  the  gate  a  great  casteil  with 
towers,  made  for  Arms  of  the  Cytte,  &  ye  Lyon  being  cowched  under  the  gate, 
&  uppon  every  tower  a  Morian  with  his  Darte  &  his  targett; l  &  at  the  Casteil 
gate  stoode  a  personage  richlie  apperrelled  like  an  orrator,  who  had  thes  words 
ffollowinge  to  the  Mayor,  which  after  he  had  spoken  he  gave  the  verses  follow- 
inge,  in  paper  foulde  in  a  stycke  of  cannell,2  with  Rosemarye  &  gylleves  gylte, 
&  so  passinge  throwghe  the  Gate,  all  the  greate  ordenans  with  a  grete  nombre 
of  chambers  wer  shott  offe."  Here  follow  eight  verses. 

"  There  was  a  pageante  standinge  in  the  pershe  of  Sl  Andrews,  against 
Willm.  Barkhams,  Richelie  apparelled,  wherein  was  an  orratour  &  fower  younge 
maydes  Richelie  apparelled,  who  represented  the  fower  Cardenall  vertews;  and 
the  orracon  begonne  with  thes  sentences  followinge  to  the  said  Mayor  &  after 
they  had  all  spoken,  the  orratour  againe 3  to  the  said  Mayor  &  presented  him 
with  A  braunche  with  a  Roll  of  ther  declaracoun,  clad  in  a  braunch  of  Rose 
marye."  The  Virtues  were  introduced  by  the  orator  in  a  four-stanza  speech; 
each  of  the  Virtues  follows,  with  a  twelve-line  stanza,  and  the  orator  closes  with 
six  verses  — 

"  As  wee  do  meane  take  in  good  parte 
This  simple  gyste  geven  with  good  harte." 

Under  this  is  written,  "  finis  q*  Cordalle."  4 

It  will  be  recalled  that  the  four  Virtues  have  appeared  often  in  pageantry 
since  they  greeted  Queen  Margaret  at  Coventry  in  1456;  but  Time  makes  his 
first  appearance  here.  Three  years  later  we  find  him  welcoming  Elizabeth  at 
her  coronation. 

1557-60 — THE  LONDON  SHOWS 

In  1557,  a  pageant  stood  in  St.  Paul's  churchyard,  and  the  mayor  and  alder 
men,  landing  at  Paul's  wharf,  passed  it  on  their  way  to  the  Guildhall.5  We 
know  no  details  concerning  it.  Machyn  makes  no  mention  of  a  Lord  Mayor's 
Show  in  1558;  in  1559 —  the  first  year  of  Elizabeth's  reign —  on  31  September, 
the  "  nuw  shreyffes  of  London  toke  ther  barge  to  Westmynster  to  take  ther 
howth,  master  Loge  and  master  Marten,  althermen,  in  the  checker,  and  after 
home  to  dener  with  ther  craftes."  6  On  28  October,  1560 —  Chester  being  mayor 
—  the  Stationers  were  assigned  a  place  following  the  Poulterers  in  processions 
on  the  Lord  Mayor's  Day.7 

1  Presumably  images,  as  the  other  one. 

2  Cinnamon  (Ewing).  3  Supply  spoke. 

4  Addl.  MS.  27967  reads  "  Finis  q*  &  Cordalle,"  and  the  line  is  underscored  in  pencil,  and 
queried.  Cordalle  may  be  the  scribe  —  but  I  think  it  more  likely  that  he  is  the  author  of  the 
last  set  of  speeches  —  perhaps  the  last  two.  The  couplet  cited  above  seems  to  show  that 
mayors  had  not  been  often  installed  with  pageants  at  Norwich. 

6  Machyn,  Diary,  pp.  155,  156. 

6  Ibid.,  p.  213.  7  Repertory  xiv,  fol.  552  b. 


1 8  ENGLISH  PAGEANTRY 

1561  —  SIR  W.  HARPER  INSTALLED 

The  Merchant-Taylors'  records  throw  some  interesting  light  on  the  1561 
Show.1  Evan  Davis,  porter,  agreed  "  that  he  shall  and  will  provide  to  fynde 
with  hym  self  xvj  tall  and  stronge  men  [to]  beare  the  pageant  upon  the  morrowe 
after  Symond  and  Jude  next,  and  to  see  the  same  pageant  broughte  saffelye 
into  this  house  that  present  day  at  nighte.  And  he  to  have  for  every  of  the 
said  xvj  men  or  portars  xxd."  Out  of  deference  to  the  mayor  the  pageant  showed 
five  celebrated  harpers;  and  is  particularly  important  as  showing  the  first  in 
stance  of  mythology  in  these  shows. 

"  John  Shutte  shall  make  for  this  Company  ageynst  the  feaste  of  Symond 
and  Jude  next,  a  pageant  accordyng  to  suche  a  pattern  (for  drawing  which, 
Gabitt  received  55.)  as  shalbe  devised  to  answer  the  speches  also  here  devised 
and  delyvered  to  hym  and  also  he  to  fynd  ij  men  to  be  woodwardes  to  cast 
squybes  or  wilde-fyer  the  morrowe  after  the  seid  feaste  of  Symond  and  Jude 
next,  and  also  to  fynde  the  said  wilde-fyer.  And  he  to  have  of  this  house  for 
the  fynyshyng  and  makyng  of  the  seid  pageant  and  fynding  the  seid  wood- 
housys  xij/f."  2 

That  the  figures  of  the  various  harpers  on  this  pageant  were  alive,  the  follow 
ing  extracts  from  the  Company's  records  show: 

"  Item  paid  for  a  crowne  for  Davyd,  and  trymyng  of  the  regalles,  and  hyer 
of  Mr.  Shobman  to  attend  upon  the  pageant  xijs.  vjd. 

"  Item  to  John  Tayllour,  master  of  the  children  of  the  late  monastere  of 
Westminster,  for  his  children  that  sung  and  playd  in  the  pageant,  xxxs. 

"  Item  paid  to  portars  for  settyng  uppe  the  pageant  in  the  hall  upon  the 
frame  in  the  gallery,  ijs.  iiijd. 


1  See  Clode,  ii,  p.  263  f. 

2  Ibid.,  ii,  p.  265.    Cf.  ibid.,  ii,  p.  267:  "  The  pageant  had  reference  to  the  Lord  Mayor's 
name  and  the  only  description  of  it  is  this:  '  On  the  toppe  as  a  fane  the  Armes  of  the  lord 
mayour  electe  on  the  one  side  thereof,  and  the  armes  of  the  merchant  taillours  on  the  other 
side  thereof/ 

"  '  Under  in  the  myddest  David  with  his  story  aboute  him. 

"  '  On  the  right  side  Orpheus  with  his  story  before. 

"  '  On  the  lefte  Amphion  with  his  story. 

"  '  On  the  lefte  side  on  the  ende  Arion,  etc. 

"  '  On  the  right  side  of  thende  lopas,  with  his,  etc. 

' '  Orpheus  playeng  upon  his  harpe,  and  trees,  rivers,  mountaynes  as  daunsinge  and 
harkeninge. 

"  '  Amphion  so,  with  a  Citie  and  the  wall  a  buyldinge,  and  the  stones  as  voluntary  Ron- 
ninge  to  it. 

'  Arion  syttinge  on  a  dolphin  in  the  sea  playeng  on  the  harpe. 

'  lopas  so,  before  a  table  of  princes  and  every  of  theis  (sic)  to  have  his  posie. 

'  In  all  places  of  the  pageant  to  have  paynted  the  verses  of  i5oth  psalme.'  " 


THE  LORD  MAYOR'S  SHOW  19 

"  Item  paid  to  Mr.  More  for  the  hyer  of  v  harps  and  his  child  playing  in  the 
pegeant,  xxjs."  l 

Apparently  sixteen  porters  carried  this  pageant  after  the  mayor,2  and  the 
pageant  was  kept  by  the  company  in  its  hall,  after  the  show  was  over.  The 
poetry  was  evidently  written  before  the  pageant  was  built  by  Shute;  though 
perhaps  not  before  the  design  for  the  structure  had  been  made  by  Gabitt. 

Machyn  describes  the  day;  "  the  nuw  mare  toke  ys  barge  towhard  West- 
mynster  my  nuw  lorde  mare  master  Harper,  with  the  althermen  in  ther  skarlett, 
and  all  the  craftes  of  London  in  ther  leverey,  and  ther  barges  with  ther  baners 
and  streamers  of  evere  occupasyon('s)  armes;  and  ther  was  a  goodly  foist  mad 
with  stremars  .  .  .  and  grett  shutyng  of  gunes  and  trumpettes  blohyng;  and  at 
xij  of  the  cloke  my  lord  mare  and  the  althermen  landyd  at  Powlles  warfle,  and 
so  to  Powlles  chyrche-yarde,  and  ther  met  ym  a  pagantt  gorgyously  mad,  with 
chylderyn,  with  dyvers  instrumentes  playng  and  syngyng;  .  .  ."  3 

"  A  goodly  pagantt  with  goodly  musyke  plahyng  "  greeted  the  lord  mayor 
as  he  landed  after  his  trip  to  Westminster  in  1562;  but  we  know  none  of  the 
details.4 

1563 — A  NORWICH  PAGEANT 

In  1563,  the  Norwich  Grocers'  pageant — originally  used  in  their  Whitsun 
play — was  exhibited  at  a  mayor's  installation.  "It  was  enquyryd  by  Mr 
Aldriche  for  ye  Provysyon  of  ye  Pageant  to  be  preparyd  ageynst  ye  daye  of 
Mr  Davy  his  takyng  of  his  charge  of  ye  Mayralltye."  5  This  shows  a  miracle- 
play  pageant —  the  Grocers'  "  tree,"  which  represented  Paradise —  used  with 
trade-symbolism  on  a  civic  occasion. 


1  Clode,  ii,  p.  269.    The  speeches  are  also  in  Clode,  ii,  p.  267  f.    David,  Orpheus,  Amphion, 
Arion,  and  lopas  each  spoke  four  lines  in  turn,  explaining  his  "  story  "  —  which  was  probably 
painted  behind  each.    Then  David,  Orpheus,  and  Amphion  spoke  again  in  praise  of  the  harp. 
"  Who  wrote  the  speeches  or  composed  the  music  is  not  disclosed  "  (Clode). 

2  It  is,  of  course,  possible  that  the  porters  were  employed  merely  to  carry  the  pageant 
from  the  Company's  hall  to  St.  Paul's  churchyard  and  back. 

3  Machyn,  p.  271;  cited  by  Clode,  ii,  p.  244. 

4  See  Machyn,  p.  294.    In  a  note,  Heath  (1869,  p.  426)  gives  an  order  related  to  the 
dress  of  the  bachelors,  issued  by  the  Court  of  Assistants  in  1562.    "  .  .  .  The  Wardeyns  of  the 
Grocers,  and  the  Wardeyns  of  the  Bachillors  to  cesse  both  the  livery  of  the  bachillors,  and 
all  the  Companie  of  the  yeomanry  for  the  furniture  of  the  poor  men's  gownes,  the  pageant 
the  first,  and  other  great  charges  that  must  be  done  when  my  Lord  Mayor  elect  shall  go  to 
Westminster,  as  to  them  shall  be  thought  meet." 

5  "  Mr.  Aldriche  "  is  probably  the  John  Aldrich  who  was  mayor  of  Norwich  in  1570. 
For  this  cited  passage  see  the  Norwich  Grocers'  records  of  13  May  1563  (copied  by  Kirk- 
patrick)  in  Fitch,  The  Grocers'  Play,  p.  22.    [Cf.  above,  vol.  i,  p.  35,  and  n.  2.] 


20  ENGLISH  PAGEANTRY 

1 566  —  SIR  CHRISTOPHER  DRAPER  INAUGURATED 

When,  in  1566,  Sir  Christopher  Draper  was  inaugurated  Lord  Mayor  of 
London,  the  pageant  cost  £i8.1  The  Ironmongers'  records  give  niany  interest 
ing  details.  "  October  ist.  Richard  Baker,  paintor  staynor,  in  the  presence  of 
this  courte,  was  agreed  w1  all  for  making  of  the  pageant  wlall,  and  all  manner 
of  things  incident  to  the  same,  as  well  the  carpenter  and  paynter's  worke,  ex 
cept  the  children  and  their  apparel;  and  for  his  paynes  therein  to  have  the  some 
of  sixtene  pounds,  and  if  it  fortune  him  to  be  a  loser  at  that  price,  it  is  agreed 
that  he  shall  have  xls>  more;  and  for  confirmacon  of  this  his  promise  the  same 
Richard  Baker  hath  hereunto  put  his  hand."  2 

"  At  the  same  present  tyme  John  Tailor,  Schoole  mr  of  the  children  of  Westmr, 
is  also  agreed  w1  all  for  vj  of  his  children  to  serve  in  the  foresaid  pageant,  as  well 
for  the  speeches  as  songs;  and  for  his  paynes  in  that  behalfe  to  have  the  some 
of  xT-:  and  for  performance  hereof  the  same  John  Tailor  hath  put  to  his  hande 
the  same  day  and  yeare  abovesaid."  3 

Among  the  items  in  the  accounts  are : 

"  Item,  paide  to  Richard  Baker  for  the  devise  and  makinge  of  the  paggion, 
xviij  . 

"  Item,  paide  to  Walter  Browne  for  porters  wh  carryed  the  pagent,  and 
hoggeshedes  to  reste  the  same  uppon,  sundry  tymes,  xlixs\ 

"  Item,  paide  to  James  Pele,4  for  seven  paire  of  gloves  for  the  children  in  the 
pagent,  sixpence  a  paire,  iijs>  vjd\ 


1  See  Malcolm,  Lond.  Rediv.,  ii,  pp.  42,  43,  (from  the  books  of  the  Ironmongers'  Company), 
cited  by  Fairholt,  pt.  i,  p.  14;  also  Nicholl,  Ironmongers,  p.  83  f.    Malcolm  errs  in  giving  the 
mayor's  name  as  William;  cf.  Fairholt,  loc.  cit.,  n.  2.  Heywood,  Works,  (1874)  iv,  p.  287,  and 
Herbert,  ii,  p.  591,  give  his  correct  name. 

Jupp,  p.  31,  n.,  cites  from  the  Carpenters'  records,  under  20  September,  1566:  "  Willyam 
Emerson  servaunt  wth  Sr  Thomas  Gresham  waterman  promisethe  to  pve  this  copanye  to 
Westm*  to  waite  on  the  Lorde  Mayor  for  this  yere  for  the  some  of  xiijs.  iiij d.  and  he  to  find 
eyshes." 

2  Nicholl,  p.  85. 

3  Ibid.,  p.  86. 

4  Hazlitt,  Livery  Companies,  p.  310,  n.  i,  says:  "  probably  the  father  of  George  Peele,  the 
dramatist  ...   He  was  possibly  a  glover,  either  by  trade  or  freedom,  as  he  supplied  seven 
pairs  at  6d.  a  pair  for  the  children."  Cf .  Chambers,  ii,  p.  166  (referring  to  Malcolm  and  Hazlitt). 

This  is  the  same  individual  who  is  mentioned  below,  sub  anno  1569.  Nicholl  (p.  88,  n.) 
says:  "  He  was  contemporary  with,  and  may  have  been  a  relative  or  elder  brother  of  George 
Peele  . . .  Mr.  Dyce,  however,  makes  no  mention  of  him  in  his  biography  of  the  dramatist ..." 

On  his  relationship  to  George,  see  Bullen's  Peele,  i,  pp.  xiii  et  seq.  In  1565,  George  was  a 
scholar  at  Christ's  Hospital,  of  which  his  father  was  Clerk.  James  had,  in  1553,  published 
a  black-letter  treatise  on  book-keeping,  and  it  was  followed  by  another  in  1569.  That  James 
Peele  was  the  father  of  George  was  first  announced  by  John  H.  Ingram,  in  the  Athenaum  for 
2  July,  1881  (see  Bullen's  Peele,  i,  p.  xiii,  n.). 


THE  LORD  MAYOR'S  SHOW  21 

"  Item,  paide  more  to  Mr.  Pele,  for  his  devise  and  paynes  in  the  paggent  xxxs>. 

"  Item,  paid  to  Mr  Hill,  Iremonger,  for  settinge  up  a  frame  of  tymber  to  set 
the  pagyent  on,  iijs'  iiijd'. 

"  Item,  paide  to  Goodman  Cave,  joyner,  for  the  setting  upp  the  pagent  in 
our  hall,  xs\ 

"  Item,  paid  for  a  kylderkyn  stande  of  ale,  sent  into  Blackwell  hall,  for  suche 
as  tendyd  on  the  pagent,  iiijs-."  ] 

There  were,  on  this  occasion,  twenty-eight  "  wifelers; "  forty-eight  men  with 
wax  torches,  an  ell  in  length,  and  an  equal  number  armed  with  javelins.  Two 
"  woodmen  "  carried  clubs  and  hurled  squibs.2 

1 568  —  A  PAGEANT  FOR  SIR  THOMAS  ROWE 

In  1568,  Sir  Thomas  Rowe,  Merchant-Tailor,  had  a  pageant  of  John  the 
Baptist,  the  Company's  patron  saint;  there  were  "  other  similar  personages, 
amongst  whom  were  four  boys,  who  spoke  complimentary  speeches  allusive  to 
the  name  of  the  mayor.  St.  John's  speech  begins : 

"  St.  John  —  '  I  am  that  Voyce  in  Wilderness,  w'ich  ones  the  Jewes  did  calle.' 

"  isl  Boy—  '  Behold  the  Roe,  the  swift  in  chace.'  "  3 

1569 — A  PAGEANT  PLANNED 

In  1569,  the  Ironmongers  "paid  unto  James  Pele  and  Peter  Baker,  for  the 
devise  of  a  pageant,  wch  tok  none  effecte,  xxvj5'.  viijd'."  As  the  son  often  fol 
lowed  the  father's  footsteps,  we  may  assume  that  Peter  is  the  son  of  Richard 
Baker;  Peele  is  the  one  who  is  mentioned  in  1566. 

On  25  October,  1573,  the  Court  of  Aldermen  voted  that  the  Lord  Mayor-elect 
receive  £50  toward  the  expenses  of  the  pageants.5  There  is  no  detailed  record 
of  what  these  were ;  the  Recorder,  Fleetwood,  in  a  letter  to  Lord  Burghley,  men- 


1  Nicholl,  p.  87  f. 

2  Fairholt,  pt.  i,  p.  56,  note,  quotes  from  Shirley's  Honoria  and  Mammon  (1652)  saying, 
"  He  alludes  to  the  wild  men  that  cleared  the  way  [for  the  Show]  and  their  fireworks,  in  these 
words:  '  I  am  not  afear'd  of  your  green  Robin  Hoods,  that  fright  with  fiery  club  your  pitiful 
spectators,  that  take  pains  to  be  stifled  .  .  .'  ' 

For  Herbert's  notices  of  this  1566  Show,  see  Hist,  Liv.  Comps.  ii,  p.  592  and  n.;  i,  p.  199. 
For  a  description  of  the  Company's  barge,  or  "  foiste,"  see  Malcolm,  ii,  p.  43  (Fairholt,  pt.  i, 
p.  17).  Nicholl,  p.  85,  gives  this  extract  from  the  Company's  records:  "  It'm,  agreed  w* 
Hugh  Watts  and  Xpofer  Beck  that  they  shall  fynde  us  two  woodmen,  w*  clubbes,  squibbes, 
and  powder  .  .  .  and  that  to  be  done  in  all  respectes  as  hath  byn  accustomed,  and  to  be  paid 
for  the  same  xxxiij8  iiijd." 

3  Herbert,  i,  p.  200;  cited  by  Chambers,  ii,  p.  166.    Cf.  also  Fairholt,  pt.  i.  p.  20.  J.  G. 
Nichols,  Land.  Pag.,  p.  94,  quotes  John  Day's  Order  observed  by  the  Lord  Mayor,  etc.,  of  1568, 
which  does  not  mention  pageants. 

4  The  records  of  the  Company,  printed  in  Nicholl,  p.  98. 
6  Repertory  xviii,  fol.  285  b. 


22  ENGLISH  PAGEANTRY 

tions  "  a  playe  for  our  farewell,"  and  feasts.1    In  1574,  on  account  of  the  plague, 
no  feast  was  held  at  Guildhall,  though  the  mayor  went  to  Westminster  by  water.2 

1575  —  WILLIAM  SMITH'S  DESCRIPTION  OF  THE  SHOW 

"  A  breffe  description  of  the  Royall  Citie  of  London,  capitall  citie  of  this 
realme  of  England,"  was  written  by  William  Smythe,  citizen  and  Haberdasher 
of  London,  in  1575.  The  manuscript3  contains  a  detailed  description  of  the 
Lord  Mayor's  Show  of  that  period.  The  author  tells  of  the  chief  magistrate's 
progress  to  Westminster  by  water  "  in  most  tryumplyke  maner  ";  he  describes 
the  decorated  barges,  the  arms  of  the  various  companies;  the  return —  also  by 
water  —  to  Paul's  wharf,  after  the  mayor  had  taken  his  oath ;  and  the  pro 
cession  through  Cheapside.  On  this  occasion  "  to  make  waye  in  the  streetes 
there  are  certain  men  apparelled  lyke  devells  and  wylde  men  with  skybbs  and 
certayne  beadells."  4  As  a  regular  feature  of  the  procession,  Smith  mentions 
"  the  pageant  of  (sic)  tryumphe 5  rychly  decked,  whereuppon  by  certayne 
fygures  and  wry  tinges,  some  matter  touchinge  justice,  and  the  office  of  a  maies- 
trate  is  represented."  6 

The  costumes  of  the  paraders  are  described,  and  the  order  in  which  they 
march;  the  procession  included  "  certayne  wyfflers  in  velvet  cotes  and  chaynes 
with  white  staves."  7  And  so  "  they  passe  alonge  through  the  citie,  to  the 
Guyldhall,  where  they  dyne  that  daye,  to  the  number  of  1000  persons,  all  at 
the  charge  of  the  Mayor  and  the  ij  Shereffes.  This  feast  costeth  4OO/.,  whereof 
the  Mayor  payeth  2oo/.,  and  eche  of  the  Shereffes  ioo/."  8 

In  1582^  there  appears  to  have  been  no  Lord  Mayor's  Show,  on  account  of 
the  plague;  Sir  Thomas  Blanke,  the  mayor,  was  not  presented  to  the  queen 
until  Sunday,  6  May,  1583,  Elizabeth  being  then  at  Richmond.  There  were  no 
pageants  on  this  occasion.10 


1  His  letter  is  published  in  Prog.  Q.  Eliz.,  i,  p.  355.    In  his  Diarium  Heptomada  (October, 
1573)  he  describes  a  change  in  the  personnel  of  the  City  government. 

2  Holinshed,  iv,  p.  325. 

3  Printed  by  Haslewood,  Brit.  Bibliog.,  i,  pp.  539  f.;  N.  Drake,  Shaks.  and  his  Times,  ii, 
p.  162  f.    (Cf.  also  Fairholt,  pt.  i,  p.  20  f.  and  note  on  p.  24;   Chambers;  J.  G.  Nichols  and 
Hone,  A  nc.  Mys.) 

4  Smith,  quoted  by  Fairholt,  pt.  i,  p.  21. 

5  Probably  "  pageant  or  triumph  "  —  the  two  words  were  often  used  as  synonyms. 

6  N.  Drake,  loc.  cit. 

7  Drake,  p.  163. 

8  Drake,  op.  cit.,  p.  164.    For  an  order  of  procedure  on  Lord  Mayor's  Day  —  of  perhaps 
a  slightly  later  date  —  see  Strype's  Stow's  Survey,  book  v,  p.  168. 

9  The  "  1581  "  pageant  referred  to  by  Herbert,  i,  p.  200,  is  clearly  the  1585  pageant, 
written  by  Peele.    (There  is  obviously  a  misprint  in  Herbert.) 

10  See  Prog.  Q.  Eliz.,  ii,  p.  399. 


THE  LORD  MAYOR'S  SHOW  23 

CONCLUSION 

In  1585,  George  Peele  wrote  the  show  for  Sir  Wolstone  Dixie;  his  is  the  first 
printed  pamphlet  giving  the  speeches  addressed  to  the  mayor;  and  with  it  the 
civic  triumphs  enter  a  new  stage  of  development.  That  words  were  spoken, 
before  this  show,  we  have  seen;  in  1553  there  were  "  goodly  speeches  "  which 
have  not  survived;  those  addressed  to  the  Norwich  mayor  of  1556  have  come 
down  to  us,  and  a  fragment  of  those  addressed  to  the  London  mayor  of  1568. 
There  were  speeches  in  the  1561  Show,  for  Sir  W.  Harper,  and  there  was  music, 
if  not  speeches,  in  1562.  But  Peek's  pamphlet  is  the  first  known  contemporary 
publication  giving  the  verses  addressed  to  the  mayor;  it  is  followed  by  a  long 
line  of  descriptive  booklets  issued  during  the  seventeenth  century. 

We  may  pause  here,  on  the  threshold  of  the  period  when  the  Lord  Mayor's 
Show  reached  its  highest  development,  to  note  that  by  1585  these  civic  triumphs 
were  well  established  as  part  of  the  ceremonies  incidental  to  the  inauguration  of 
a  new  mayor.  The  ride  to  Westminster,  which  dates  from  the  establishment  of 
the  mayoralty  in  1209,  was  varied  by  a  water-progress  as  early  as  1422.  By 
1453,  this  had  evidently  superseded  the  "  riding  ";  and  a  hundred  years  later 
the  Lord  Mayor's  Show,  as  we  know  it,  had  begun.  Taking  pageantry  from  the 
Midsummer  Show,  and  adapting  the  splendors  of  the  "  royal-entry  "  to  the 
civic  occasion,  the  installation  of  the  chief  magistrate  of  London  grew  in  elabo 
rateness,  until  it  eclipsed  the  "  royal-entry";  this  development  we  shall  now 
follow  through  the  hundred  and  twenty-three  years  which  lie  between  Peele's 
Show  for  1585  and  Settle's  for  1708. 


§  2.  THE  SHOW  AT  ITS  HEIGHT,  1585-1708:  PEELE  TO  SETTLE 

PEELE'S  1585  SHOW 

The  first "  text "  of  a  Lord  Mayor's  Show  hitherto  discovered,  is  that  written  by 
George  Peele  for  Sir  Wolstone  Dixie,  Skinner,  mayor  in  1585.  The  pamphlet1 
contains  only  the  speeches  spoken  by  the  characters  in  the  pageant; 2  it  gives  no 
description  of  the  pageant  or  of  the  procession  —  a  practice  which  grew  up  in 
later  pamphlets.  The  "  speech  spoken  by  him  that  rid  on  a  luzern  3  before  the 
pageant,  apparelled  like  a  Moor  "  describes  "  this  emblem  thus  in  show  signifi- 


1  A  copy  is  in  the  Bodleian;    reprints  may  be  found  in  Dyce's  (1829)  ed.  of  Peele,  ii, 
p.  147;  Bullen's  ed.,  i.,  p.  351;  Price,  p.  199;  Nichols,  Prog.  Q.  Eliz.,  ii,  p.  446;  Hist.  Leices 
tershire,  iv,  p.  496;   Harl.  Misc.  (1813),  x,  p.  351;   Strype's  Stow's  Survey  (1720),  ii,  p.  136. 
Cf.  also  Greg,  p.  22;   Fairholt,  L.  M.  Pag.,  pt.  i,  p.  24;   J.  G.  Nichols,  Lond.  Pag.,  p.  100; 
Wadmore,  p.  144;  J.  Nichols,  inGent.  Mag.,  August,  1824,  p.  113;  Hone,  Anc.  Mys.,  p.  249. 

2  As  Fairholt  (loc.  a/.),  and  others,  have  already  pointed  out. 

3  Lynx.    This,  with  the  Moor,  is  "  a  slender  allusion  to  the  company  "  of  the  Mayor, 
who  was  a  Skinner.    (Herbert,  i,  p.  200.) 


24  ENGLISH  PAGEANTRY 

cant  ":  London,  attended  by  her  "  well-advised  magistrates,"  receives  presents 
from  the  country;  Thames, 

For  London's  good,  conveys  with  gentle  stream 
And  safe  and  easy  passage,  what  she  can, 
And  keeps  her  leaping  fishes  in  her  lap. 

The  soldier  and  sailor, 

.  .  .  frankly  both, 

For  London's  aid,  are  all  in  readiness, 
To  venture  and  to  fight  by  land  and  sea. 

Science  "  is  vowed  to  honour  London  with  her  skill,"  and  the  city  herself  is  ready 
to  yield  all  unto  Elizabeth.  The  Moor  ends  by  telling  the  Lord  Mayor  to  guard 
the  treasure  he  has  received. 

Speeches  by  London,  Magnanimity,  Loyalty,  the  Country,  the  Thames,  the 
Soldier,  the  Sailor,  Science  and  four  nymphs —  "the  children  in  the  pageant"  — 
follow.  London  introduces  herself  and  lauds  Elizabeth;  the  others  speak  in  turn, 
praising  London  and  extolling  the  queen.1 

We  find  here  the  symbolical  figure  of  London  which  has  persisted  down  to 
our  own  times.  I  have  suggested  the  possibility  of  its  connection  with  such 
figures  as  the  1486  Ebraucus,  where  the  founder — an  historical  or  pseudo- 
historical  figure  —  comes  close  to  symbolism.2  The  lynx  and  the  Moor  have 
a  trade-symbolism  which  is,  as  we  shall  see,  a  very  important  element  of  the 
seventeenth-century  mayoralty  shows.  Magnanimity,  Loyalty,  and  Science  are 
personified  abstractions  such  as  we  have  already  seen  in  the  "  royal-entry;  " 
the  Thames  is  no  new  figure,  and  the  Soldier  and  Sailor  are  practically  abstract, 
in  that  they  represent  Force  by  land  and  sea.  We  should  observe  that  here  — 
as  in  former  inaugural  processions  —  there  is  but  one  pageant.  This  may  have 
had  an  influence  in  changing  the  meaning  of  the  word  from  car  to  spectacle;  I  do 
not  believe  that  '  Sir  Laurence  Aylmer's  pageant '  of  1516  3  referred  to  a  spec 
tacle:  the  records  probably  meant  the  pageant-car  itself;  and  in  1585  we  find 
there  is  still  only  one  car,  though  the  show  has  become  attached  to  the  Lord 
Mayor's  Day. 

PEELE'S  1588  SHOW 

That  Peele  was  the  author  of  the  Show  for  1588,  is  clear  from  the  entry  in 
the  Stationers'  Register  under  28  October  of  that  year: 4  "  Entred  for  his  [i.  e., 

1  It  is  to  be  presumed  that  the  female  characters  were  boys  dressed  up. 

2  See  above,  vol.  i,  p.  81  f. 

3  Herbert,  i,  p.  457,  cited  above,  vol.  i,  p.  39.    This  was  for  a  Midsummer  Show,  and  is 
an  example  of  the  immediate  source  of  the  Lord  Mayor's  Show. 

4  Arber,  The  Stationers'  Register,  ii,  p.  504.    Fleay,  Biog.  Chron.  Eng.  Drama,  1559-1642, 
gives  a  list  of  Lord  Mayor's  Shows,  ii,  p.  402.    He  assigns  —  without  giving  his  authority  — 
the  1588  "  device  "  to  George  Peele.    Cf.  also  op.  cit.,  ii,  p.  154. 

Fairholt,  pt.  i,  p.  26  (with  whom  should  be  compared  J.  Nichols,  in  Gent.  Mag.  for  August, 
1824,  p.  113)  notes  that  this  "  device  of  the  pageant  "  was  licensed  to  be  printed  by  Richard 


THE  LORD  MAYOR'S  SHOW  25 

Richard  Jones's]  Copie  vppon  Condicion  that  it  maye  be  lycenced,  ye  device  of 
the  Pageant  borne  before  the  Righte  honorable  MARTYN  CALTHROP  lorde  maiour  of 
the  Cytie  of  London  the  2gih  dale  of  October  1588  GEORGE  PEELE  the  Authour 
.  .  .vjd." 

NELSON'S  SHOW  FOR  1590 

The  rare  descriptive  pamphlet  of  Thomas  Nelson's  Show  for  1590  is  in  the 
British  Museum;  I  have  described  it  at  length  in  a  paper  which  appeared  in 
Modern  Language  Notes  for  January,  1918.  Here,  it  will  be  sufficient  to  repeat 
that  there  is  little  new  in  this  show,  although  we  see  such  characters  as  The  Peace 
of  England,  Fame,  Wisdom  on  one  side  supporting  the  State,  Policy  on  the 
other  side  supporting  the  State,  God's  Truth,  Commonwealth,  Richard  II,  Jack 
Straw,  another  Commonwealth  in  the  shape  of  Sir  William  Walworth  —  where  we 
see  a  former  mayor  of  London  given  an  allegorical  significance  not  unlike,  per 
haps,  that  which  may  have  been  given  to  the  mythical-founder  in  the  "  royal- 
entry."  History  plays  a  part  in  the  show,  and  at  times —  especially  in  Richard's 
cry  to  Walworth  —  the  speeches  suggest  a  formless  play,  partly  historical,  partly 
allegorical — a  weaker  Kynge  Johan.  We  may  presume  that  the  mayor  stopped 
before  the  pageant  to  hear  the  speakers;  the  conditions  of  presentation  account 
for  the  lack  of  dramatic  coherence.1 

PEELE'S  1591  SHOW 

The  first  Lord  Mayor's  Show  to  have  a  title  is  Peele's  Descensus  Astrcea, 
written  for  the  inauguration  of  Sir  William  Webb,  uncle  of  Archbishop  Laud,2 
who  entered  into  the  mayoralty  in  i59i.3  The  presenter's  speech  eulogizes  the 
mayor  —  not  without  a  punning  allusion  to  his  name 4  —  and  flatters  the  queen. 

Jones;  he  adds  that  no  copy  is  now  known  to  exist,  "  neither  are  the  titles  of  any  other  than 
this  one  preserved  between  the  years  1585  and  1591,  though  we  may  reasonably  suppose 
that  others  were  printed."  In  a  note,  he  refers  to  Gifford's  opinion  that  Munday  contributed 
several  during  this  period.  I  have  not  found  a  copy  of  the  1588  pamphlet. 

1  Nelson  repeats  the  erroneous  origin  of  the  dagger  in  the  City  Arms,  which  is  not  Wai- 
worth's,  but  St.  Paul's.   He  notes  that  Walworth  won  the  Fishmongers  their  crest  ("  two  armes 
bearing  vp  a  crowne  ")  and  received  a  crest  for  himself.    Jack  Straw's  speech  ("  Jacke  Strawe 
the  rebell  I  present,  Wat  Tyler  was  my  aide  .  .  .  Yet  for  our  bad  ambitious  mindes  by 
Walworth  we  were  tamde.    He  being  Maior  of  London  then  .  .  .  slew  me  first .  .  .")  is  exposi 
tion  of  history,  connected  with  the  guild,  and  not  without  a  moral  flavor. 

2  Bullen's  Peele,  i,  p.  360.    His  wife  was  the  daughter  of  Sir  Christopher  Draper  (Lord 
Mayor,  1566);  his  sister  Anne  married  Sir  Wolstan  Dixie  (Lord  Mayor,  1585). 

3  This  pamphlet  is  in  the  Guildhall.    It  is  reprinted  in  Dyce's  (1829)  ed.  of  Peele,  ii, 
p.  155;  in  Bullen's  ed.,  i,  p.  361;  the  Earl.  Misc.,  x,  p.  68,  whence  Gillespy  reprints  it,  p.  66. 
Cf.  Greg,  p.  22;  J.  Nichols,  in  Gent.  Mag.,  August,  1824,  p.  113;  Fairholt,  pt.  i,  p.  27;  J.  G. 
Nichols,  p.  100.    As  usual,  the  pamphlet  gives  only  the  speeches  —  there  was  no  prose  de 
scription  of  the  ceremonies  of  the  day. 

4  "  See,  lovely  lords  .  .  .  How  Time  hath  turn'd  his  restless  wheel  about .  .  .  and  weaved 
a  Web  For  your  content." 


26  ENGLISH  PAGEANTRY 

As  Astr^ea  guards  her  flock  from  her  seat  on  the  top  of  the  pageant,  Super 
stition,  a  friar,  and  Ignorance,  a  priest,  seek  in  vain  to  poison  the  fountain  of 
truth,1  beside  which  they  sit.  Astraea,  "  our  Pandora  fair,  Our  fair  Eliza,  our 
Zabeta  fair,"  defends  the  fountain,  her  eye  keeping  Ignorance  in  awe.  Eu- 
phrosyne,  Aglaia,  Thalia,2  Charity,  Hope,  Faith,  Honour,  and  the  Champion, 
all  praise  Astraea,  rather  fulsomely;  and  the  two  Malcontents  quail  before  her. 

"  In  the  hinder  part  of  the  Pageant  did  sit  a  child,  representing  Nature,  hold 
ing  in  her  hand  a  distaff,  and  spinning  a  web,  which  passed  through  the  hand  of 
Fortune,  and  was  wheeled  up  by  Time,  who  spake  as  followeth  "  -  explaining 
that  he  winds  "  the  Web  that  kind  so  well  begins,  While  Fortune  doth  enrich 
what  Nature  spins."  3 

At  the  end  of  the  descriptive  pamphlet  is  a  "  speech  on  the  water,  delivered 
in  the  morning,  at  my  Lord  Mayor's  going  to  Westminster."  It  was  spoken 
"  by  one  clad  like  a  Sea-nymph;  who  presented  a  Pinesse  on  the  water,  brauely 
rigd  and  mand,  to  the  Lord  Mayor,  at  the  time  he  took  Barge  .  .  ."  This 
speech,  says  Fairholt,4  "  is  rather  high-flown  in  its  diction,  but  it  contains  much 
poetic  feeling,  and  a  beautiful  allusion  to  London,  its  greatness  and  stability, 
in  the  words ;  — 

"  '  The  mortar  of  these  walls,  tempered  in  peace, 
Yet  holds  the  building  sure.'  ' 

Daw,  citing  from  the  oldest  book  of  records  in  the  possession  of  the  Butchers' 
Company,  notes  "  that  there  was  no  Barge  money  collected  this  yeare  [1592]  for 
that  the  Lord  M.  took  his  othe  at  the  Tower  Gate,  and  went  not  to  Westminster, 
and  so  no  Barge  used."  5  There  was,  in  this  year,  a  plague  in  London; 6  and  this 
seems  to  have  made  it  necessary  for  the  mayor  to  give  up  his  show  in  1593  as 
well.  Sir  Cuthbert  Buckle,  whose  mayoralty  began  in  this  year,7  was  presented 
to  the  queen  by  the  Recorder  of  London;  but  no  place  is  mentioned  in  the 
speech,  which  was  probably  delivered  at  some  suburban  palace  —  perhaps 
Greenwich.  Before  the  presentation  took  place,  the  mayor  "  hath  beene  pre 
sented  before  your  Highnes  Officer  in  that  behalf e  appointed,  and  hath  sollemnly 
sworne  his  fidelitie  to  your  most  excellent  Majestic  and  taken  the  accustomed 
oath  for  the  due  execution  of  his  office  . 


1  Also  represented  on  the  pageant. 

2  Cf.  the  1533  pageant  for  Anne  Boleyn,  above,  vol.  i,  p.  183. 

3  Pamphlet,  p.  7.    Cf.  Bullen's  Peele,  i,  p.  366.  4  L.  M.  Pag.,  pt.  i,  p.  29. 

5  Early  Hist.  Butchers,  p.  23.    "  This  appears,"  says  Mr.  Daw,  in  a  note,  "  to  have  been 
the  practice  if  the  Court  of  Exchequer  were  not  sitting."    We  have  already  noted  instances 
of  the  mayor  being  presented  to  the  Constable  of  the  Tower  in  1303  and  1304  (cf.  above, 
p.  4,  n.  3). 

6  Cf.  Prog.  Q.  Eliz.,  iii,  pp.  130,  190,  214,  254  and  n.  4. 

7  Cf.  Strype's  Stow's  Survey  (1720),  ii,  p.  138. 

8  Harl.  MS.  852,  fol.  2.    This  speech  is  reprinted  by  Nichols,  Prog.  Q.  Eliz.,  iii,  228  f.;  he 
notes  that  Edward  Drew,  sergeant-at-law,  was  Recorder  of  London,  1592-1594. 


THE  LORD  MAYOR'S  SHOW  27 

The  speech  which  begins  "  It  is  full  three  years  past,  my  good  lord,  that  by 
occasion  of  God's  punishment  the  Cittizens  of  London  have  beene  constreyned 
to  forbeare  their  comeing  to  this  Ho:  place  to  accomplish  their  duety  they  owe 
to  yor  Lordship  &  this  Honourable  Court  .  .  ."  ]  follows  the  other  address  with 
out  a  break.  It  was,  however,  delivered  on  the  presentation  of  Sir  John  Spencer 
to  the  Lord  Chief  Baron2  at  Westminster  in  1594.  This  sentence  shows  that 
for  three  years —  since  1591  —  no  mayor  had  been  presented  at  Westminster; 
which  leads  us  to  imagine  that  Sir  Cuthbert  Buckle  had  met  the  queen  at  one  of 
her  palaces  on  the  outskirts  of  London. 

1602  —  THE  MERCHANT-TAYLORS'  SHOW 

From  the  "  Court  Minute  "  of  23  September,  1602,  we  get  the  following 
record  of  the  Merchant-Taylors'  Show  of  that  year:3  "  Itt  is  concluded  and 
agreed  that  against  Symon  and  Jude's  Day  for  the  triumph  before  the  Lord 
Maior,  there  shalbe  preparacion  made  of  a  Pageon,  a  Ship,  a  Lyon,  and  a  Cam- 
mell.4  The  Pageon  being  a  thing  ordinary,  and  th'other  three  doe  properly 
belong  unto  our  Companie,  and  are  very  fitt  and  answerable  for  this  tyme, 
namely,  the  Ship  in  regard  two  Wor11  Members  of  this  Company  are  to  bear 
great  offyces  in  this  Cittie  for  this  nexte  yeare  ensuing,  viz.  Mr  Rob1  Lee,  Alder 
man,  the  honble  place  of  Lord  Maior,  and  Mr  John  Swinnerton,  Alderman,  the 
place  of  one  of  the  Sheriff es  of  this  Cittie,  and  they  both  being  merchants.  And 
we,  as  well  in  regard  of  the  Companies'  Incorporacion  and  name  of  Merchan- 
tailors,  as  also  in  regard,  the  two  said  Wor11  persons  are  merchants  by  profession, 
the  shippe  is  proper  and  very  apte  for  this  occasion  and  tyme,  and  the  Lyon 
being  part  of  the  Companie's  Armes,  and  the  Cammell  the  Companie's  sup 
porters.  And  our  Master  and  Wardens  are  entreated  to  have  a  speciall  care, 
that  every  thing  maye  be  very  sufficientlie  performed,  to  the  worship  and  creditt 
of  the  Company  .  .  .  not  havinge  had  a  Maior  of  our  Company  sithence  Sir 
Thomas  Rowe  was  Lord  Mayor,  being  now  thirty  and  three  years  since." 

The  emphasis  in  this  show  —  the  author  of  which  has  not  yet  been  discovered 
—  is  on  trade-symbolism.  That  the  Merchant-Tailors  were  not  niggardly  in 
their  celebration,  is  shown  by  the  large  amount  of  money  they  spent.  There 
was  evidently  a  water-show,  for  the  ship  is  spoken  of  as  distinct  from  the  pageant, 
which  was  "  a  thing  ordinary,"  —  though  it  is,  of  course,  possible  that  the  ship 


1  Harl.  MS.  852,  fol.  2  —  reprinted  in  Prog.  Q.  Eliz.,  iii,  p.  254  f. 

2  Sir  William  Peryam,  [Nichols,  Prog.  Q.  Eliz.,  iii,  p.  254,  n.  2].    Both  the  Cat.  Harl.  MSS. 
i,  p.  456,  and  Nichols,  op.  cit.,  note  that  the  presentation  of  Sir  John  Spencer  begins  here. 

3  Printed  in  Clode,  i,  p.  187. 

4  The  ship  cost  £38;   the  pageant,  £78,  175.,  jd.;  the  lion  and  camel,  £8,  165.,  6d.;  there 
were  also  "green-men,"  at  £5,  35.,  ^d.;  the  barge,  barge-cloth  and  "gallifoyst"  cost  £78, 
35.,  4<f.    The  total  expenses  of  the  Merchant-Taylors'  Company  for  this  show,  were  £747, 
25.,  lod.    The  items  are  printed  from  the  records  of  the  Company,  by  Clode,  i,  p.  390. 


28  ENGLISH  PAGEANTRY 

was  displayed  on  land;  if  this  were  the  case,  we  have  an  early  example  of  a 
show  with  more  than  one  pageant.  The  "  green-men,"  which  appeared  this 
year,  as  the  accounts  of  the  Company  indicate,  are,  of  course,  nothing  new. 

On  account  of  the  plague,  there  was  no  show  the  next  year.  Sidney  Young 
cites  the  records  of  the  Barber-Surgeons'  Company,  for  22  October,  1603: 
"  To  the  Wardens  of  the  Companie  of  B arbor-Surgeons.  By  the  Maior. 
Theise  are  to  will  and  require  you  that  you  take  speciall  knowledge  herby  that 
for  avoydinge  of  infeccion  by  assemblie  of  people  this  tyme  of  gods  vizitacion 
It  is  thought  meate  therbe  noe  shewe  made  the  morrowe  after  Simond  and 
Judes  daie  next,  it  is  intended  that  youre  Companie  be  dischardged  thereof  for 
their  Attendance  for  that  tyme.  This  xxijth  of  October  1603.  Sebright."  1 

1605  —  MUNDAY'S  "  TRIUMPHS s  OF  REUNITED  BRITANNIA" 

Munday  wrote  the  show  for  the  inauguration  of  Sir  Leonard  Holliday,  Mer 
chant-Taylor,  in  1605.  The  pamphlet  is  entitled  The  Triumphs  of  Reunited 
Britannia,2 —  which,  of  course,  refers  to  James's  accession.  In  this  show  there 
is  some  of  the  mythical  history  of  Britain,  and  Munday  has  inserted  a  good  deal 
of  symbolism.  Opening  with  a  dialogue  between  the  master  and  the  mate  of 
the  "  Shippe  called  the  Royal  Exchange,"  3  in  which  the  master  expresses  his 
joy  at  getting  home,  and  the  mate  his  pleasure  in  the  fact  that  "  our  Master  is 
Mayor,"  the  show  is  continued  by  Neptune  and  Amphitrite  on  a  lion  and  camel; 4 
this  pair  first  seated  their  son  Albion  in  the  land.  Corinaeus  and  Gogmagog  — 
two  huge  giants,  "  for  the  more  grace  and  beauty  of  the  show  "  -  were  fettered 
by  chains  of  gold  to  "  Britain's  Mount  "  -  the  principal  pageant,  which  they 
appeared  to  draw.  This  mount,  "  triangular  as  the  Island  of  Britayne  it  selfe 
is  described  to  bee,"  contained  children  representing  "  under  the  shape  of  a 
fayre  and  beautifull  Nymph,  Britania  hir  selfe,  accosted  with  Brute's  divided 
kingdoms,  in  the  like  female  representations,  Leogria,  Cambria,  and  Albania." 

Britannia  tells  Brute,  "  her  conqueror  (who  is  seated  somewhat  lower,  in  the 
habite  of  an  adventurous  warlike  Troy  an),"  that  she  had  still  continued  her 
name  of  Albion  but  for  his  conquest  of  her  virgin  honor  —  and  that  she  was 
glad  he  conquered  her.  Brute  shows  her  her  causes  for  joy  —  for  he  overcame 
"  Goemagot  "  (or  Gogmagog)  and  his  "  barbarous  brood  ";  built  Troya  Nova, 
and  beautified  the  land,  which  before  was  a  vast  wilderness. 

The  three  virgin  kingdoms  seem  to  reproach  him  for  his  "  over-much  fond 
love  "  of  his  sons,  in  dividing  one  monarchy  between  them.  He  stays  their  re- 


1  Young,  Annals  of  Barber-Surgeons,  p.  in. 

2  Copies  are  in  Brit.  Mus.,  and  Bodl.    It  is  reprinted  in  Nichols,  Prog.  James,  i,  p.  564. 
Cf.  also  Greg,  p.  21;  Fairholt,  pt.  i,  p.  29;  J.  G.  Nichols,  p.  100;  J.  Nichols,  in  Gent.  Mag. 
for  August,  1824,  p.  114. 

3  Which  may  be  the  ship  furnished  by  this  company  for  the  1602  Show. 

4  Very  likely  those  of  1602. 


THE  LORD  MAYOR'S  SHOW  29 

proof  by  showing  the  present  united  state  of  the  land,  divided  by  the  first  Brute; 
this  glorious  event  is  due  to  the  second  Brute  —  King  James.  For  joy  the  three 
kingdoms  deliver  up  their  crowns  and  sceptres ;  and  Troya  Nova  persuades  fair 
Thamesis  and  the  other  rivers  to  sing  pagans  to  the  sovereign.  Thames,  the 
Queen  of  English  Rivers,  begins — and  is  followed  by  the  Severn  and  the  Humber.1 

The  history  of  the  Merchant-Taylors'  guild  is  recounted  by  Fame  and  her 
attendants ; 2  and  the  show  ends  with  speeches  by  Neptune  and  Amphitrite 
lauding  Sir  Leonard  Holliday,  and  invoking  divine  blessings  on  "  that  second 
Brute,  James  our  dread  king." 

This  show  is  rather  more  connected  than  is  apt  to  be  the  case  in  these  civic 
triumphs;  it  is  to  be  noted  that  much  was  made  of  history  not  purely  that  of 
the  guild.  This  was  due  to  the  fact  that  James  had  to  be  complimented;  and 
it  is  interesting  to  observe  how  many  countries  and  rivers  were  personified,  that 
honor  might  be  done  him.  Ship,  camel,  and  lion  seem  to  have  been  brought  over 
from  1602;  they  were,  in  fact,  properties  belonging  to  the  company:  but  Gog- 
magog  and  Corinaeus —  who  had,  it  will  be  remembered,  appeared  in  the  "  royal- 
entry  "  of  1554 3 —  seem  to  have  been  revived  for  the  occasion. 

The  records  of  the  company  4  throw  an  interesting  side-light  on  this  show. 
"  This  year,  by  reason  of  the  great  rain  and  fowle  weather  hap'ning  and  falling 
upon  the  morrow  after  Symon  and  Jude's  day,  being  the  day  my  Lord  Mayor 
went  to  Westminster,  the  great  costs  the  Company  bestowed  upon  their  pageant 
and  other  shows  were  in  manner  cast  away  and  defaced.  And  therefore  upon  a 
general  request  made  by  the  Batchelors  the  same  shows  were  new  repaired  and 
carried  abroad  upon  All  Saints  Day,  at  a  cost  of  64!.,  145.,  id" 

As  an  example  of  the  way  the  word  pageant  is  turning  to  mean  spectacle  — 
perhaps  because  the  Lord  Mayor's  Shows  had  but  one  in  these  early  days- 
we  may  refer  to  the  epilogue  of  Eastward  Hoe  (1605):   "  See  if  the  streets  and 
the  fronts  of  the  houses  be  not  stuck  with  people,  and  the  windows  filled  with 
ladies,  as  on  the  solemn  day  of  the  pageant."  5 

THE  SHOW  FOR  1609 

The  show  to  which  Heywood,  in  the  introduction  of  Sinus  Salutis  (his  Show 
for  1635)  refers,  dating  it  i6oy,6  is  really  that  of  1609.  In  the  British  Museum 
(C.  jj.  e.  7  [23])  are  to  be  found  the  last  four  leaves  of  the  descriptive  pamphlet, 
to  which  is  prefixed  a  pencilled  titlepage,  as  follows:  "  Camp-bell;  or  the  Iron- 


1  The  verse  is  iambic  pentameter,  in  seven-line  stanzas,  riming  ababbcc. 

2  Tapeinotes,  Eros,  Eleutheriotes,  Sophrosyne,  Agnites,  Hypomene,  Epimelia;    Pheme 
rides  before  the  chariot,  which  evidently  contains  the  others. 

3  See  above,  vol.  i,  p.  191. 

4  Quoted  by  Clode,  i,  p.  188  n. 

5  Cited  by  Fairholt  in  his  Scrapbook  (in  the  Society  of  Antiquaries)  vol.  i. 

6  See  the  1874  ed.  of  his  works,  iv,  p.  288. 


30  ENGLISH  PAGEANTRY 

mongers  Faire  Field  [a  Pageant  at  the  installation  of  Sir  Thomas  Campbell  in 
the  office  of  Lord  Mayor  of  London,  29  Oct.  1609]."  In  pencil,  on  the  margin 
of  the  first  sheet,  this  is  attributed  to  Munday. 

In  this  show  appear  the  Graces,  various  inhabitants  of  the  sea,  St.  Andrew 
and  St.  George,  "  vnited  now  in  enduring  amitie."  The  former  Saint  rides  a 
unicorn,  the  latter  his  dragon;  both  address  the  mayor. 

Nicholl,  citing  the  Ironmongers'  records  of  3  November,  1609,  throws  further 
light  on  this  show.  "  At  this  court  Mr.  Anthonie  Mundaye  came  into  court, 
and  the  observations  then  made  were  theise,  —  that  the  children  weare  not  in 
structed  their  speeches,  which  was  a  spetiall  judgment  of  the  consideration, 
then  the  musicke  and  singinge  were  wanting,  the  apparell  most  of  it  old  and 
borrowed,  with  other  defects,  and  the  matter  left  to  Mr.  Leat's  coming  home, 
wch  will  be  by  the  next  courte."  On  18  November,  Munday  was  "  a  suitor  for 
5/2.  of  increase  over  his  bargaine,  layinge  his  reason  therefor  in  regard  of  his 
speeches  made  for  the  water;  and  had  answere  given  that,  in  respect  he  per 
formed  not  his  speeches  on  land,  nor  the  rest  of  his  contracted  service,  the  Com- 
panie  were  not  to  goe  beyond  their  bargaine,  and  payd  45/£." 

1610 — PRINCE  OF  ANHALT  AT  THE  Crvic  SHOW 

Christianus,  Prince  of  Anhalt,  witnessed  the  civic  triumphs  of  1610;  "  he 
surveyed  the  Cittie  of  London  with  great  pleasure  and  admiration,  and  behelde 
the  pleasant  triumphs  upon  the  water  and  within  the  Cittie,  which  at  this  time 
were  extraordinary  in  honor  of  the  Lord  Mayor  and  Cittizens,  and  that  daie 
this  prince,  with  all  his  Germanyne  trayne,  were  entertayned  at  the  Lord  Mayor's 
Feast,  in  the  Guild  hall,  where  hee  manifested  his  former  admiration  .  .  .  and 
sayd  there  was  no  state  nor  cittie  in  the  world  that  did  elect  their  magistrates 
with  such  magnificence,  except  the  Cittie  of  Venice,  unto  which  the  Cittie  of 
London  commeth  very  neere."  2 

1611  —  A  NORWICH  FATALITY 

While  not,  strictly  speaking,  a  civic  pageant,  that  erected  on  the  Norwich 
mayor's  gate  in  1611  deserves  mention.  "  On  the  i8th  of  June  (it  being  gild-day) 
a  sumptuous  pageant  was  prepared  at  the  new  Mayor's  gate  on  Tombland,  and 
certain  fire-works,  as  had  been  usual,  were  fired  off  in  the  evening,  some  of  which 
breaking,  frighted  the  people  (who  were  very  numerous)  to  such  a  degree,  that 
hurrying  away  in  crowds  for  fear  of  hurt,  there  were  no  less  than  33  persons 


1  Nicholl,  Ironmongers,  p.  143. 

2  Howes,  Stow's  Annals  (1615  ed.),  p.  908;  cited  by  J.  Nichols  mGent.  Mag.  for  November, 
1824,  p.  411.    Clode,  ii,  p.  311,  is  in  error,  in  recording  the  election  of  Sir  W.  Craven  to  the 
mayoralty  in  1610,  when  he  says:  "...  by  order  of  the  king  the  Lord  Mayor's  Show,  which 
had  been  for  some  years  suspended,  was  revived."    We  have  recorded  the  1609  Show. 


THE  LORD  MAYOR'S  SHOW  3 1 

trodden  down  and  pressed  to  death,  as  the  register  of  the  parish  of  St.  Simon  and 
Jude  declares."  l 

1611  —  MUNDAY'S  "  CHRYSO-THRIAMBOS  " 

The  reproof  of  the  Ironmongers  in  1609  did  not  dampen  Munday's  ardor,  for 
in  1611  we  find  him  in  charge  of  the  show  for  the  Goldsmiths.2  Prideaux,  citing 
the  records  of  the  Company,3  notes  that  John  Lowen,  one  of  the  king's  players, 
was  "  to  perform  the  part  of  Lepstone  in  the  show."  He  further  records  —  from 
the  same  source  —  that  Grinkin,  the  painter,  was  to  provide  for  the  show  a 
tomb  for  Farrington,  a  former  mayor;  properties  for  Time;  the  chariot  of  the 
two  kings  drawn  by  two  leopards;  the  "  orpherie  "  drawn  by  two  "  victors," 
with  places  to  contain  Justice  and  her  two  daughters  on  the  top,  and  for  St. 
Dunstan.  Evidently  a  trade-pageant,  or  "  explanation  of  the  Mystery,"  was 
to  be  included,  together  with  two  Moors,  riding  on  unicorns  (the  supporters  of 
the  Company's  arms);  Grinkin  was  to  have  £75  for  these,  and  Anthony  Mun- 
day  was  to  write  the  speeches.  He  received  £80  for  the  following: 

"  Apparel  for  the  kings  in  the  chariot 

"  For  Farington,  the  Mayor 

"  For  Tyme 

"  For  all  other  persons  and  children  in  the  Mystery,  and  for  all  those  that 
ride  upon  the  beasts. 

"  For  making-up  the  speeches,  for  expressing  the  meaning  of  the  shows,  both 
for  Lepston,  Farington,  the  kings,  the  boys  and  all  the  rest. 

"  For  two  books  which  are  to  be  made  and  printed  and  to  be  delivered  to 
Mr.  Wardens  for  their  disposal.  Mr.  Munday  is  also  to  bear  the  charge  of  the 
tyring  and  tryming  of  the  children,  and  whatsoever  else  is  requisite  to  be  done 
by  him  for  the  managing  of  the  whole  business."  4 

By  this  time,  clearly,  there  was  more  than  one  pageant  in  the  show,  although 
the  trade-pageant  continued  to  be  the  important  one.  This  show  seems  to  have 
included  history  and  allegory,  though  some  of  the  characters  are  not  clear  (the 
kings,  for  instance).  St.  Dunstan  was  the  patron  of  the  Company,  and  appears 
in  later  shows. 

1612  —  DEKKER'S  "  TROIA  NOVA  TRIUMPHANS  " 

Two  items  from  the  Merchant-Taylors'  records  6  are  of  interest  in  connection 
with  Dekker's  Show  for  1612.  "  Paid  to  Mr.  Hemynge  and  Mr  Thomas  Dekker 
the  poet,  for  the  devise  of  the  Land  Shewes,  being  a  Sea  Chariott  drawne  by  two 


1  F.  Blomefield,  iii,  p.  364;  cited  by  Ewing,  p.  17. 

2  For  mention  of  this,  see  Fairholt,  pt.  i,  p.  32;  J.  G.  Nichols,  p.  100;  J.  Nichols,  in  the 
Gent.  Mag.  for  Aug.,  1824,  p.  114;   Greg,  p.  20.    I  have  not  seen  a  copy  of  the  descriptive 
pamphlet,  which  was  entitled  Chryso-Thriambos,  the  Triumphes  of  Golde. 

3  Prideaux,  Memorials  of  the  Goldsmiths  Company,  i,  p.  116. 

4  Prideaux,  i,  p.  117.  6  Printed  by  Clode,  i,  p.  335. 


32  ENGLISH  PAGEANTRY 

sea  horses,  one  pageant  called  Neptune's  Throne,  with  the  seven  liberall  Sciences, 
one  Castle  called  Envy's  Castle,  one  other  pageant  called  Virtue's  Throne,  and 
for  the  persons  and  apparel  of  those  that  went  in  them  the  sum  of  197^.  Also  to 
Nicholas  Sotherne  and  George  Jackson  the  two  master  painters  for  the  making, 
painting,  gilding  and  garnishing  of  all  the  same  several  Thrones  before  mentioned 
and  for  new  painting  the  Company's  ship,  the  sum  of  i8i/."  The  Mr.  Hemynge 
referred  to  as  Dekker's  collaborator  in  this  show  is  possibly  the  one  who,  eleven 
years  later,  shared  the  responsibility  for  the  First  Folio.  The  Company's  ship, 
used  on  this  occasion,  may  be  that  used  by  the  Merchant-Tailors  in  1605. 

A  description  of  this  show  may  be  found  in  Clode ; 1  copies  of  the  descriptive 
pamphlet  are  in  the  Bodleian  and  the  British  Museum;  and  Fairholt  reprints  it.2 
The  first  two  "  triumphs,"  or  pageants,  of  this  show  represented  Neptune  in  a 
sea-chariot  with  Tritons:  and  the  four  Winds  "drive  forward  that  Ship  of 
which  Neptune  spake."  Luna  sits  at  the  feet  of  the  sea-god;  and  the  Tritons 
ride  on  "  foure  severall  fishes,  viz:  two  dolphins  and  two  mer-maids,  which  are 
not  (after  the  old  procreation)  begotten  of  painted  cloath,  and  broune  paper, 
but  are  living  beasts  ..."  The  Throne  of  Virtue  contains  in  the  most  eminent 
place  Arete,  or  Virtue  herself.  Beneath  her  sit  the  Seven  Liberal  Sciences  — 
females,  whose  "  habits  are  light  roabes,  and  loose  (for  Knowledge  should  be 
free)."  This  throne  is  drawn  by  four  horses  which  are  ridden  by  Time,  Mercury, 
Desire,  and  Industry.  Desire  seems  to  be  a  female;  and  Industry  is  "in  the 
shape  of  an  olde  country-man."  Both  Neptune  and  Virtue  addressed  the  mayor. 

"  A  forlorn  castle  "  -  the  third  device —  is  built  close  to  the  Little  Conduit 
in  Cheapside;  and  as  the  Throne  of  Virtue  approaches,  there  appear  on  the 
battlements  Envy  and  her  followers,  Ignorance,  Sloth,  Oppression,  Disdain 
and  others.  All  are  armed  and  ready  to  shoot  at  Virtue;  Riot  and  Calumny, 
from  their  posts  at  the  gate  of  the  castle,3  offer  to  stop  Virtue's  progress,  but 
she  dazzles  and  confounds  them.  They  shrink  back,  and  after  she  has  passed, 
they  shoot  arrows  into  the  air,  which  break  out  in  fireworks. 

On  the  mayor's  return  from  the  Guildhall  to  St.  Paul's  —  the  "  shewes  " 
marching  back  in  the  same  order  as  before  —  Envy  makes  another  stand.  Vir 
tue  summons  her  people;  pistols  are  fired,  and  Envy  vanishes  with  her  crew.  It 
is  impossible,  when  we  read  such  descriptions  as  this,  not  to  recall  such  fights 
and  fortress-stormings  as  Elizabeth  saw  at  Bristol;  but  this  has  a  moral  signifi 
cance  even  more  prominently  brought  out.  It  should  be  added  that  twelve 
horsemen,  representing  the  twelve  Companies,  rode  before  the  Throne  of  Virtue. 

1  Op.  cit.,  i,  p.  335  f.    This  is  the  only  Lord  Mayor's  Show  to  use  New  Troy  in  the  title, 
although  the  historical  element  is  much  stronger  in  Munday's  Show  for  1605.     (On  this 
"  history,"  see  vol.  i,  p.  58,  n.  2.) 

2  L.  M.  Pag.,  pt.  ii,  pp.  7  ff.    Cf.  also  Greg,  p.  7;   J.  Nichols  in  Gent.  Mag.  for  August, 
1824,  p.  114;  and  J.  G.  Nichols,  p.  101. 

8  Note  the  moral  allegory  joined  to  "  pageantized  "  chivalry. 


THE  LORD  MAYOR'S  SHOW  33 

1613  —  MEDDLETON'S  "  TRIUMPHS  OP  TRUTH  " 

The  next  year,  Middleton  wrote  The  Triumphs  of  Truth  in  honor  of  Sir  Thomas 
Middle  ton,  Grocer.1  At  Soper-Lane  end  was  a  "  Senate  house  "  erected,  upon 
which  musicians  sat  playing.  After  a  song,  the  Lord  Mayor  appeared  from  the 
Guildhall,  and  was  greeted  with  a  flourish.  Then  appeared  from  behind  a  silk 
curtain  a  "  grave  feminine  shape  .  .  .  attired  like  a  reverend  Mother,  a  long 
white  hair  naturally  flowing  on  either  side  of  her  ..."  She  represented  London, 
and  addressed  the  mayor  "  after  a  comely  grace,  equally  mixed  with  comfort  and 
reverence."  Then  the  waits  of  the  city  being  there  in  service,  his  Lordship  and 
the  reverend  Company  were  led  forward  to  the  waterside,  where  the  river  was 
decked  in  the  richest  glory  to  receive  them.2 

On  the  mayor's  return  from  Westminster,  the  first  "  triumph  "  to  attend  his 
Lordship  was  Truth's  Angel  on  horseback,  and  Zeal,  the  champion  of  Truth, 
"  likewise  the  chastiser  of  Ignorance  and  Error  "  (symbolized  by  his  scourge). 
Both  the  Angel  and  Zeal  saluted  the  mayor;  then  they  ranked  themselves  be 
fore  his  lordship  and  conducted  him  to  Paul's  Chain,  where  Error  in  a  chariot, 
with  his  infernal  ministers,  awaited  the  mayor,  to  assault  him.  Their  costumes 
showed  the  symbols  of  blind  ignorance  and  darkness. 

Envy,  the  champion  of  Error,3  rode  beside  him,  "  eating  of  a  human  heart." 
With  a  long  speech,  Error  greeted  the  mayor,  enticing  him  to  let  his  "  will  and 


1  Of  the  descriptive  pamphlet  of  this  show,  two  copies  are  in  BM.,  one  in  the  Gh.,  one  in 
Bodl.    It  is  reprinted  in  Dyce's  ed.  of  Middleton,  v,  p.  213;   Bullen's  ed.,  vii,  p.  229;  Prog. 
James,  ii,  p.  679;  Heath,  (3d  ed.)  appendix,  p.  443.    Cf.  also  Bullen,  i,  p.  xxxviii;  Fairholt, 
pt.  i,  p.  32;  J.  Nichols,  in  Gent.  Mag.,  Aug.,  1824,  p.  114;  J.  G.  Nichols,  p.  101;  Greg,  p.  15; 
Hone,  p.  246.    In  his  introductory  remarks,  Middleton  takes  advantage  of  the  opportunity 
to  sneer  at  his  brother-poet,  Munday. 

Under  date  of  8  July,  1613,  "  it  is  ordered  that  the  Company  of  Grocers  shall  haue  two 
convenient  rooms  one  aboue  another  beneath  in  Leaden  hall  for  the  workmen  to  make  their 
pageants  and  other  devises  in  against  the  next  Lord  Maiors  day."  Repertory  xxxi  (i),  fol. 
129. 

2  See  Herbert  i,  p.  200  (quoted  by  Dyce  and  Bullen)  who  says  that  Sir  Thomas  Middleton 
"  was  nearly  the  first  who  attempted  an  emblematical  and  scenic  representation  of  his  com 
pany  in  a  water  spectacle,  consisting  (in  imitation  of  the  pageant  mentioned  to  have  been 
exhibited  by  Sir  John  Wells  to  Henry  VI)  of  '  five  islands  artfully  garnished  with  all  manner 
of  Indian  fruit  trees,  drugges,  spiceries,  and  the  like;  the  middle  island  having  a  faire  castle 
especially  beautified  ' :  the  latter  probably  allusive  to  the  newly  established  East  India  Com 
pany's  forts,  and  whose  adventures  had  contributed  so  much  to  enlarge  the  sphere  of  the 
grocers'  trade."    Just  how  much  part  the  mayor  himself  took  in  planning  the  triumph  is 
doubtful.    This  was  Middleton's  first  show,  and  most  of  the  credit  of  it  should,  surely,  be 
given  to  the  poet.    The  "  imitation  "  of  Lydgate's  1432  show  is  not  close,  and  probably  not 
conscious.    (Cf.  above,  vol.  i,  pp.  141  ff.) 

3  Zeal  and  Envy  recall  the  Elizabethan  barriers  —  in  moral-allegorical  clothing.     (Cf. 
above,  vol.  i,  p.  in.) 


34  ENGLISH  PAGEANTRY 

appetite  sway  the  sword  "  now  that  he  has  the  power.  Envy  echoed  Error; 
then  Zeal,  stirred  up,  forced  their  retirement,  making  way  for  Truth.  When  she 
comes  in  her  chariot,  Zeal  presents  her,  and  she  claims  the  mayor  —  "  Thou'rt 
mine ! " 

Then  they  all  set  forward  —  the  chariot  of  Truth  (who  is  attended  by  the 
Graces  and  Virtues)  taking  place  next  before  his  lordship;  Zeal  and  the  angel 
precede  them,  and  the  Chariot  of  Error  follows  the  mayor,  "  as  near  as  it  can 
get  ";  and  so  to  Paul's  Churchyard,  "  where  stand  ready  the  five  islands,  those 
dumb  glories  that  I  spake  of  before  upon  the  water."  And  on  them  were  the 
Five  Senses  —  Visus,  Auditus,  Tactus,  Gustus,  and  Olfactus —  with  their  proper 
emblems  at  their  feet.  There  was  also  a  King  of  Moors,  his  queen,  and  two 
attendants,1  in  a  ship  without  sail  or  pilot,  bearing  the  motto:  Veritaie  gubernor. 
The  king  spoke,  telling  how  he  had  been  converted  by  the  truth  of  the  English 
merchants  with  whom  he  dealt;  he  is  no  longer  an  infidel.  Then  all  in  the  ship 
bow  "  their  bodies  to  the  tempel  of  Saint  Paul,"  while  Error  smiles  'twixt  scorn 
and  anger,  exclaiming  - 

What,  have  my  sweet-faced  devils  forsook  me  too  ? 
Nay  then  my  charms  will  have  enough  to  do. 

Time,  the  father  of  Truth,2  charges  the  mayor  always  to  listen  to  his  daughter. 
"  Then  the  five  islands  pass  along  into  Cheapside,  the  ship  next  after  them; 
the  Chariot  of  Truth,"  etc.,  to  the  Little  Conduit,  where  there  is  "  another  more 
subtle  object."  This  is  "  a  mount  triumphant,  but  the  beauty  and  the  glory 
thereof  overspread  with  a  thick  sulphurous  darkness  .  .  ."  -  the  mist,  or  fog,  of 
Error,  which  ominously  blemished  London's  Triumphant  Mount.  Four  mon 
sters  —  Error's  disciples,  Barbarism,  Ignorance,  Impudence,  and  Falsehood  — 
sit  at  the  corners.  When  Truth  approaches,  she  drives  the  mists  away  with  a 
"powerful  command  ":  the  cloud  rises,  and  turns  into  a  brilliant  canopy.  The 
four  monsters  fall  flat:  London  is  discovered  in  the  place  of  honor;  above  her 
sits  Religion,  with  Liberality  on  her  right,  and  Perfect  Love  on  her  left.  In  his 
right  hand,  the  latter  bears  a  spear,  containing  all  the  Twelve  Companies'  arms. 
On  two  heights  sit  Knowledge  and  Modesty,  and  at  the  back  are  Chastity, 
Fame,  Simplicity,  and  Meekness.  London,  the  scales  of  darkness  fallen,  gives 
her  blessing  to  the  mayor  — 

The  many  ways  that  to  blind  Error  slide 
Are  in  the  entrance  broad,  hell-mouth  is  wide; 
But  when  man  enters  far,  he  finds  it  then 
Close,  dark,  and  strait,  for  hell  returns  no  men  .  .  . 

"  At  which  words,  the  whole  Triumph  moves,  in  his  richest  glory,  toward 
the  Cross  in  Cheap,  at  which  place  Error,  full  of  wrath  and  malice  to  see  his 
mist  chased  away,  falls  into  this  fury."  After  his  speech,  the  mist  falls  again; 

1  These  have,  doubtless,  a  trade-signification. 

2  Cf.  the  1559  procession,  above,  vol.  i,  p.  202. 


THE  LORD  MAYOR'S  SHOW  35 

Truth  again  disperses  it,  and  the  Mount,  glorious  once  more,  passes  to  the 
Standard,1  "  about  which  place,  by  elaborate  action  from  Error,  [the  mist]  falls 
again,  and  goes  so  darkened  till  it  comes  to  St.  Laurence  Lane-end  "  where 
Truth  chases  it  away  again,  and  is  thanked  by  London.2  Perfect  Love  banishes 
Excess  from  the  feast  of  joy,  and  the  Lord  Mayor,  with  the  Companies,  passes 
to  the  Guildhall.  On  their  return,  the  triumphs  escort  the  mayor  to  St.  Paul's 
—  "  Error  by  the  way  still  busy  and  in  action  to  draw  darkness  often  upon  that 
Mount  of  Triumph,  which  by  Truth  is  as  often  dispersed  ..."  Then,  all  return 
ing  home,  this  mount  and  the  Chariot  of  Truth  both  were  placed  near  Leaden- 
hall,  where  London  addressed  the  mayor.  With  Zeal's  destruction  of  Error, 
the  pageant  ends  —  a  flame  shooting  from  his  head  consumes  the  Chariot  of 
Error  with  its  beasts.3 

The  gentle  plot  running  through  this  show  tempts  us  to  call  it  a  peripatetic 
morality-play ;  it  would  be  interesting  to  know  what  proportion  of  the  spectators 
saw  the  whole  thing.  Probably  few  did;  hence  the  repetition  of  the  "  mist 
motif."  It  was,  we  may  presume,  a  great  temptation  to  a  dramatist  like  Middle- 
ton  to  tell  a  connected  story;  but  the  conditions  of  presentation  obviously  made 
this  impossible.4 


1  A  Conduit  in  Cheap.    Cf.  Michaelmas  Term,  ii,  1,109  (Bullen). 

2  This  repetition  of  the  action  is  obviously  so  that  all  could  get  a  chance  to  see  the  elab 
orate  mechanism  of  the  pageant,  as  well  as  to  hear  the  simple  lesson. 

3  They  were  obviously  not  alive.    It  may  be  added  that  the  firework  was  made  by  Hum 
phrey  Nichols:   the  work  of  the  Triumph  was  done  by  John  Grinkin,  "  and  those  furnished 
with  apparel  and  porters  by  Anthony  Munday,  gentleman."    As  in  the  case  of  the  masque, 
the  artificers  were  almost  —  if,  indeed,  not  quite  —  as  important  as  the  poets.    Their  names 
are  almost  always  to  be  found  at  the  end  of  the  printed  descriptions,  with  the  poet's  acknowl 
edgement  of  his  debt.    Sometimes  —  considering  the  conditions  of  presentation  —  the  artifi 
cer  is  even  more  important  than  the  author  of  the  speeches. 

Fairholt,  pt.  i,  p.  37,  remarks  that  the  incident  of  Truth  and  Error  "  is  an  evident  copy 
from  that  of  Virtue  and  Envy  in  Dekker's  pageant  for  the  preceding  year.  The  city  poets 
did  not  scruple  to  repeat  previous  portions  of  pageantry  occasionally  ..." 

4  Fairholt,  pt.  i,  p.  56,  n.,  quotes  from  Shirley,  who  makes  fun  of  the  Lord  Mayor's  Show. 
It  may  be  remarked  that,  as  far  as  is  known,  Shirley  never  composed  one  of  these  triumphs; 
and  I  have  yet  to  see  a  scoffing  reference  to  them  in  the  work  of  any  dramatist  who  did.    We 
may  add  that  they  were  taken  much  less  seriously  in  the  second  half  of  the  century;  —  a 
comparison  of  Evelyn's  remarks  with  those  of  Pepys  shows  the  different  attitude,  the  former 
giving  the  older  point  of  view. 

A  satire,  perhaps  based  on  the  mayoralty  shows,  may  be  found  in  The  Seuen  deadly  Sinnes 
of  London,  Drawne  in  seuen  seuerall  Coaches,  Through  the  seuen  seuerall  Gates  of  the  Citie, 
Bringing  the  Plague  with  them  .  .  .  (By  Thomas  Dekker;  London,  1606.)  "  The  names  of 
the  Actors  in  this  old  Enterlude  of  Iniquitie  "  are  given  just  before  the  "  induction  ":  they 
are  "  Politike  Bankeruptisme,  Lying,  Candle-light,  Sloth,  Apishnesse,  Shauing,  Crueltie  — 
seuen  may  easily  play  this,  but  not  without  a  Diuell."  This  is  not  a  satire  of  the  Lord  Mayor's 
Show  —  and  seems  to  be  a  combination  of  morality  "  spirit  "  with  the  "  technique  "  of  the 
pageant. 


3  6  ENGLISH  PAGEANTRY 

THE  OPENING  OF  THE  NEW  RIVER 

No  pageantry  accompanied  the  ceremonies  of  the  opening  of  the  New  River, 
this  same  year.1  I  mention  this  in  passing,  because  the  1913  Show  is  supposed 
to  have  reproduced  elements  from  this,  as  well  as  from  the  Show  for  1613.  We 
shall  see,  later,  that  very  little  of  the  latter  was  reproduced;2  and  none  of 
Middleton's  Entertainment.  Echoes  of  the  opening  of  the  New  River  water 
works  are  to  be  found,  however,  in  the  figure  of  Hugh  Middleton,  who  rode  in 
1913,  as  well  as  in  the  captive  giant,  who  represented  the  river-god. 

I  do  not  intend  to  outline  every  Lord  Mayor's  Show  of  the  seventeenth  cen 
tury.  This  labor  has  been  rendered  unnecessary  by  the  work  of  Fairholt,  which 
was  well  and  faithfully  done;  I  shall,  therefore,  limit  myself  to  treating  in  detail 
only  those  shows  which  he  has  not  mentioned,  together  with  one  or  two  im 
portant  shows  in  decades  widely  separated,  that  the  reader  may  see  the  lines 
along  which  these  triumphs  developed.  As  full  a  list  as  I  have  been  able  to 
make  will  be  found  in  the  Bibliography  under  the  heading  Lord  Mayor's  Shows; 
and  bibliographical  data  have  been  collected  under  the  name  of  each  author. 

1614 — MUNDAY'S  "  HIMATIA-POLEOS  " 

The  only  noteworthy  things  in  Munday's  1614  Show  are  first,3  a  long  apology 
for  having  been  led  astray  by  Stow  to  call  Fitz-Alwin  a  Goldsmith  when  he  was 
a  Draper;  secondly,  the  figure  of  Richard  I  surrounded  by  many  personified 
cities,  each  carrying  the  arms  of  the  town  he  represents.  The  first  pageant  is  a 
ship;  and  in  the  third  pageant  sits  Himatia,  or  Clothing,  surrounded  by  various 
trade  and  allegorical  figures.  Sir  John  Norman  makes  the  speech  on  the  water 
(in  prose) ;  and  Sir  Henry  Fitz-Alwin  also  appears  in  the  triumph.  The  Golden 
Fleece  makes  its  appearance,  and  a  shepherd  addresses  the  mayor  4  in  prose  and 
verse. 


1  One  of  the  copies  of  the  1613  Show  in  the  B.  M.  has  Middleton's  description  of  these 
ceremonies  bound  with  it  [BM.,  C.  33.  e.  34].    This  is  entitled:   The  Manner  of  his  Lordships 
Entertainment  on  Michaelmas  day  last  ...  a/  that  most  Famous  and  Admired  Worke  of  the 
Running  Streame  from  Amwell  Head  into  the  Cestern  neere  Islington,  being  the  sole  Inuention, 
Cost  and  Industry  of  that  Worthy  Maister  Hugh  Middleton  of  London,  Goldsmith,  for  the  generall 
good  of  the  City.    London  .  .  .  1613.    This  is  reprinted  by  Dyce,  v,  p.  246,  and  Bullen,  vii, 
p.  263;  for  mere  mention  of  these  festivities,  see  Clode,  i,  p.  339,  and  J.  Nichols,  in  Gent. 
Mag.,  for  Aug.,  1824,  p.  115. 

2  See  below,  p.  138. 

3  On  p.  5  of  the  BM.  pamphlet.    This  has  not,  as  far  as  I  know,  been  reprinted;   it  is 
mentioned  by  Fairholt,  pt.  i,  p.  37;  cf.  also  Greg,  p.  20;  J.  G.  Nichols,  p.  102. 

4  Sir  Thomas  Hayes,  Draper. 


THE  LORD  MAYOR'S  SHOW  37 

1616  —  MUNDAY'S  "  LEMON  TREE  " 

A  passing  reference  may  be  made  to  Mimday's  Show  for  1616,  which  is  out 
lined  by  Fairholt,1  because  the  "  lemon  tree  "  which  it  contained,  and  which 
recalls  the  trade-pageant  of  the  Grocers  which  we  have  seen  so  often,  does  not 
appear  to  have  been  a  trade-pageant  in  this  case.  Rather  was  it  planned  to 
honor  the  Lord  Mayor  for  this  year  who  was  Mr.  John  Leman,  Fishmonger.  It 
falls,  therefore,  in  the  category  of  such  punningly  appropriate  structures  as  the 
three  wells,  in  the  "  royal-entry  "  of  1432,  when  the  Mayor  was  John  Wells,2  or 
the  "  Castle  of  Denhm  "  -  out  of  compliment  to  Mr.  Sheriff  Denham —  in  the 
Midsummer  Show  of  I534-3 

1617  —  AN  ITEM  FROM  THE  CITY  RECORDS 

Under  date  of  2  September,  1617,  the  Court  of  Aldermen  thought  meet  "  that 
the  company  of  grocers  may  make  their  shewes  for  the  Lord  Maiors  day  in  some 
convenient  place  one  (on)  the  bankside  of  Gresham  Colledg  neere  Broadstreete 
&  that  the  Mr  And  wardens  of  the  grocers  shall  presently  conferr  with  the  Mr 
&  Wardens  of  the  Company  of  Mercers  concerning  the  same." 4  In  this  year, 
Dekker  and  Munday  competed  unsuccessfully  with  Middle  ton;  the  accounts  of 
the  Grocers  contain  these  interesting  items : 

"  Payde  and  given  in  benevolence  to  Anthony  Monday,  gentn,  for  his  paynes 
in  drawing  a  project  for  this  busynesse  which  was  offered  to  the  Comytee,  £5. 

"  Payde  and  given  to  Mr  Deckar  for  the  like,  £4."  5 


1  L.  M.  Pag.,  pt.  i,  p.  40.     Cf.,  for  further  details,  Nicholl,  pp.  177  and  180  f. 

2  See  above,  vol.  i,  p.  146,  and  n.  4. 

3  See  above,  vol.  i,  p.  41,  and  n.  2. 

4  Repertory,  xxxiii,  fol.  160.    Copies  of  the  descriptive  pamphlet  of  this  year's  show  — 
written  by  Middleton  for  George  Bowles,  Grocer  —  may  be  found  in  Gh.,  and  BM.    It  was 
reprinted  by  Dyce,  v,  p.  607;   Bullen,  vii,  p.  293  (in  their  editions  of  Middleton);   Heath, 
(3d  ed.)  appendix,  p.  459.    Cf.  also  Fairholt,  pt.  i,  p.  43;   Greg,  p.  16;  J.  G.  Nichols,  p.  103; 
J.  Nichols,  in  Gent.  Mag.,  Aug.,  1824,  p.  116. 

5  See  Heath,  (2d  ed.)  p.  413,  and  my  article  in  Publ.  Mod.  Lang.  Assoc.  for  March,  1915, 
p.  in  f.    For  further  items,  see  Fairholt,  pt.  i,  p.  161  f.  (appendix  i)  and  Heath  (3d  ed.) 
p.  425  f.    An  interesting  item  is  found  in  Heath  (3d  ed.)  p.  428,  under  the  head  "  The  Foiste 
and  other  Fire  Works  :  " 

"  Payde  and  given  in  benevolence  to  the  fierman  or  greeneman  over  and  about  [above] 
his  agreement,  the  some  of  n  s." 

It  will  be  noted  that  "  greenman  "  IP  here  a  synonym  for  "  fireman  "  —  he  who  casts 
squibs  and  other  "  fireworks  "  about. 

Middleton  received  £282,  but  had  to  provide  the  pageants. 


3  8  ENGLISH  PAGEANTRY 


1618  —  MUNDAY'S  "  SIDERO-THRIAMBOS  " 


Neither  Fairholt  nor  Nichols  know  any  pageant  for  idiS,1  but  the  title  of 
Munday's  pamphlet  is  recorded  by  Greg,2  and  the  original  pamphlet  may  be 
found  in  the  British  Museum.  It  was  written  for  Sir  Sebastian  Harvey,  Iron 
monger;  and  as  it  has  not  been  reprinted,  I  shall  outline  it.3  Munday  first 
shows  Lemnos,  like  a  "  goodly  Myne,"  wherein  sits  Mulciber,  god  of  mines  and 
metals,  with  attendant  Cyclops  at  work,  "  nimble  and  dexterious  youthes  "  who 
sing  as  they  labor.4  At  the  four  corners  of  the  Isle,  or  Mine,  sit  four  nymphs  — 
Chrusos,  Argurion,  Calcos,  and  Sideros,  figuring  the  four  ages  of  the  world.  The 
two  lizards  of  the  Company's  crest  appear  on  the  pageant,  and  "  above  them  all 
is  Jupiter,  mounted  vpon  his  Royall  Eagle."  Two  estridges  —  supporters  of  the 
Company's  arms  —  draw  this  "device."  A  cannon  follows,  with  the  "  neces- 
sarie  furnishment  for  charging  and  discharging,  ..."  and  "  certaine  gallant 
knights  in  Armour  6  .  .  .  have  the  charge  or  guiding  of  this  cannon."  Jupiter,  it 
may  be  remarked,  was  also  in  armor.  A  Leopard  follows,  and  on  him  rides  "  an 
ancient  Brittish  Barde,"  guiding  the  Mount  of  Fame,  wherein  are  Fame,  Ex 
pectation,  Hope,  Justice,  and  Fortitude  treading  down  Ambition,  Treason,  and 
Hostility,  shackled  in  Ironmongers'  manacles.  Fear  and  Modesty,  Vigilance 
and  Providence,6  Courage  and  Counsel  also  occupy  places  on  the  pageant.  It 
may  be  noted  that  the  bard's  speeches  —  for  he  gives  more  than  one,  and  speaks 
the  last,  "  at  night  at  my  Lord's  House  "  -  are  delicately  flavored  with  lowland 
Scotch. 

In  1623,  Munday  and  Middleton  worked  together,  the  former  planning  the 
show  upon  the  water,  and  the  latter  the  show  upon  the  land;  7  the  next  year 
John  Webster  wrote  Monuments  of  Honor  —  the  only  Lord  Mayor's  Show,  — 
so  far  as  is  known,  —  which  he  produced.8  In  1625  comes  the  first  break  in  the 
list  of  shows  since  1609.  That  there  was  no  show  this  year  is  made  clear  by 
Middleton's  reference  to  Sir  Allen  Cotton,  the  outgoing  mayor  in  1626,  whose 


1  See  Fairholt,  pt.  i,  p.  45,  and  J.  Nichols,  in  Gent.  Mag.,  for  August,  1824,  p.  116. 

2  A  List,  etc.,  p.  20. 

3  The  disbursements  for  this  show,  from  the  Ironmongers'  accounts,  may  be  found  in 
Nicholl,  p.  182. 

4  Every  stanza  of  their  song  ends  with  Acier  Dure,  the  motto  of  the  company. 

5  Perhaps  "  armed-men  "  given  a  trade  significance. 

6  Foresight. 

7  See  my  paper, "  The  Lord  Mayor's  Show  for  1623,"  in  Publ.  Mod.  Lang.  Assoc.  for  March, 
1915,  p.  no  i. 

8  I  have  not  seen  a  copy  of  the  descriptive  pamphlet,  which  is  reprinted  in  Hazlitt's 
edition  of  Webster's  Works  (4  vols.,  London,  1857)  iii,  p.  225.    Cf.  also  Greg,  p.  25.    (The 
show  was  written  for  John  Gore,  of  the  Merchant-Taylors'  Company.)    J.  Nichols  (Gent. 
Mag.,  Aug.,  1824,  p.  117)  had  not  seen  a  copy;  Fairholt,  pt.  i,  p.  51,  notes  its  rarity. 


THE  LORD  MAYOR'S  SHOW  39 

arms  were  carried  by  one  of  the  lions  attached  to  the  Chariot  of  Honor.1  "  At 
[his]  happy  inauguration,"  says  the  poet,  "  though  triumph  was  not  then  in 
season  —  Death's  pageants  being  only  advanced  upon  the  shoulders  of  men  — 
his  noble  deservings  were  not  thereby  any  way  eclipsed." 2 

1628  —  DEKKER'S  "  BRITANNIA'S  HONOR  " 

Breaking  a  silence  that  had  lasted  since  1612,  Dekker's  voice  was  again  heard 
in  1628,  when  he  wrote  the  show  for  the  inauguration  of  Richard  Deane,  Skin 
ner.3  The  first  triumph  "  is  called  a  Sea-Consort  ";  Amphitrite  sits  on  a  rock, 
built  artificially  in  the  water;  mermaids  attend  her,  sea-nymphs  sit  about  the 
rock,  "  and  in  places  convenient  for  them  are  bestowed  our  three  famous  Riuers, 
Humber,  Trent,  and  Seuerne,  aptly  attired  according  to  the  quality  of  such 
Marine  Persons,  who  play  vpon  Cornets."  Amphitrite  speaks,  and  there  was  a 
French  speech  planned,  in  case  her  Majesty  honored  the  triumphs  with  her 
presence.  London,  a  lady,  is  the  speaker  on  the  next  pageant;  her  right  hand 
rests  on  a  tree,4  twelve-branched,  representing  the  Companies;  various  "  scrip 
tures  "  adorn  the  pageant.  With  London  are  Minerva,  Bellona,  Peace,  Re 
ligion,  Civil  Government,  Justice,  Learning,  Industry,  and  Honor. 

The  "  Glory  of  Furres  "  is  the  third  "  presentation  "  -  which  has  an  obvious 
trade-significance.  This  was  a  chariot  triumphant,  drawn  by  two  luzerns,6  in 
which  chariot  were  seated  a  fur-clad  Russian  prince  and  princess;  an  old  lord, 
in  furs;  a  judge,  and  a  University  doctor  in  furred  robes,  and  other  people  with 
garments  made  —  in  whole  or  in  part  —  with  furs.  Fame,  who  is  also  in  this 
chariot,  speaks. 

" Brittannia's  Watch-Tower"  is  the  name  of  the  fourth  "presentation." 
Britannia  is  surrounded  by  Magnanimity,  a  Shipwright,  Victory,  Providence; 
and  there  are,  in  other  prominent  places,  seated  kings  —  Edward  the  Confessor, 
Richard  I,  John,  Henry  III  —  who  had  added  to  the  civic  freedom  of  the  city.6 
Britannia  addresses  the  mayor  from  this  pageant. 

The  last  triumph  is  the  "  Sun's  Bower  "  -  an  arbor,  where  sits  Sol,  sur 
rounded  by  the  Seasons.  Beneath  is  a  wilderness  stocked  with  fur-bearing 

1  See  the  preface  to  his  Triumphs  of  Health  and  Prosperity  (1626);  in  the  Guildhall  copy 
of  the  pamphlet,  p.  7,  before  the  speech  of  Government;   in  Bullen's  edition  of  Middleton, 
vii,  p.  408. 

2  The  reference  is  to  the  plague  and  the  death  of  James  I. 

3  The  descriptive  pamphlet  for  this  year,  entitled  Brittannia's  Honor,  may  be  found  in 
the  British  Museum.    It  has  not  been  reprinted,  as  far  as  I  know;  neither  Fairholt  nor  Nichols 
knew  of  its  existence. 

4  Called  "  New  Troyes  Tree  of  Honor." 

5  Supporters  of  the  Company's  arms.     Cf.  the  "  luzern  "  of  the  1585  Show,  (above, 
P-  23). 

6  Dekker  notes  that  many  kings  have  been  free  of  the  Skinner's  Company,  "  whose  names 
I  forbeare  to  set  downe,  because  they  haue  in  former  yeeres  beene  fully  exprest." 


40  ENGLISH  PAGEANTRY 

beasts.  A  "  scripture  "  in  Latin 1  and  English  hangs  from  a  bough  of  one  of  the 
trees.  Sol  addresses  the  mayor. 

At  night,  Sol  being  veiled,  London  speaks  the  city's  farewell  to  the  new  mayor. 
Dekker,  at  the  end  of  his  pamphlet,  commends  Mr.  Gerard  Christmas,  and  his 
son,  Mr.  John  Christmas,  for  their  "  workes,  that  for  many  years,  none  haue 
beene  able  to  Match  them  for  curiosity." 

1629 — DEKKER'S  "LONDON'S  TEMPE  " 

From  the  minutes  of  the  Ironmongers'  Company  3  we  get  the  following  infor 
mation  on  Dekker's  Show  for  1629: 

According  to  an  order  of  Court,  made  the  xj  th  of  August  last,  theis  present  treated  and 
agreed  with  Mr  Crismas  and  Mr  Decker  and  concerning  the  making  of  the  pageants  for  the 
shew  on  the  next  Lord  Maior's  day;  after,  the  said  Xpmas  and  Decker  presented  them  with 
a  plott  wherein  was  contayned  six  several!  pageants,  namely: 

A  Sea  Lyon  \  ,     x, 

0     TT          >  for  the  water 
2  Sea  Horses  J 

An  Estridge 

Lemnions  Forge 

Tempe,  or  the  Field  of  Hapines 

7  Liberall  Sciences 

For  the  accomplishing  whereof  they  demanded  200  li,  which  theis  present  conceaved  to 
be  an  over  value,  and  theruppon  offered  them  180  li,  which  they  accepted  for  the  making  and 
finishing  of  the  said  pageants,  to  be  furnished  with  children  and  speakers,  and  their  apparell 
and  necessaries  thereunto  belonging;  land  carriage  by  porters,  water  carriage  by  boats  and 
watermen  as  is  accustomed;  the  green-men  with  their  fireworks;  the  musick  for  the  pag 
eant;  and  to  give  the  company  500  bookes  of  the  declaracion  for  the  said  shew:  and  the 
committee  demanded  that 

Sea  Lyon 

The  2  Sea  Horses,  and 

The  Estridge 

be  brought  into  the  Hall  after  the  solemnity,  there  to  be  sett  upp  for  the  Company's  use, 
whereunto  Mr  Crismas  excepted,  but  was  contented  to  deliver  back  the  sea  lyon  and  the  es- 
tridge  and  desired  to  retain  the  sea  horses  to  himself;  all  the  rest  he  undertook  to  performe 
for  the  said  some  of  iSoli  effectually  and  sufficiently  to  the  Company's  liking:  In  witness 
whereof  they  have  hereunto  subscribed. 

Tho  Dekker 
Garrett  Chrismas.4 

1  Deus  ecce  Furentibus  obstat. 

2  Gerard  Christmas,  or  Chrismas,  was  the  engineer  of  many  a  Lord  Mayor's  Show.    See 
his  life  in  the  D.  N.  B. 

3  Printed  in  Nicholl,  p.  203  f. 

4  The  signatures  are  reproduced  in  facsimile,  in  Nicholl,  p.  204. 


THE  LORD  MAYOR'S  SHOW  41 

The  Company's  records  further  state  that: 

Mr  Garratt  Crismas  desired  to  have  theis  things  following,  as  is  usually  allowed  by  other 
Companies: 

8  guides  for  the  pageant;   8  blew  coats  and  redd  caps,  with  ribbin  and  staves. 

For  the  lighting  of  the  shew  from  Paules,  4  Ibs  of  torches. 

For  the  lighting  of  the  shew  to  the  water  side  2  Ibs  of  linkes. 

For  24  staves  and  ribbins  for  24  men  that  give  their  attendance  that  day. 

For  2  scarfs  for  himself  and  his  sonne,  and  the  watermen  are  to  have  ribbings. 

To  which  the  Court  assented,  and  Mr  Garratt  Xmas  is  appointed  to  take  care  for  the 
provision  of  the  children  of  the  pageants,  their  breakefaste  and  dinner,  as  he  in  his  discrecion 
shall  think  meete.1 

The  pamphlet,  entitled  Londons  Tempe,  or  the  Feild  (sic)  of  Happines,  which 
describes  the  show  prepared  for  James  Campbell,  Ironmonger,  may  be  found  in 
the  British  Museum  and  the  Bodleian.  It  has  been  reprinted  by  Fairholt 2  and 
from  him  by  Nicholl ; 3  there  is  no  need  of  outlining  it  here. 

On  18  January,  1629  (1630),  the  Court  of  Aldermen  agreed  that "  whereas  by 
order  of  this  court  made  the  xxii  day  of  December  last 4  Mr.  Chamberlen  was 
to  satisfie  vnto  the  severall  companyes  of  this  city  especially  vnto  the  inferior 
companyes  their  severall  proporcions  of  mony  with  interest  towards  payment 
of  the  first  6ooooli  in  that  order  mentioned  it  is  now  thought  fitt  and  soe 
ordered  by  this  court  that  such  of  the  company  as  will  make  an  abatement  and 
defalcacion  of  the  moneys  they  owe  vnto  the  City  toward  the  charge  of  Pagents 
&c.  by  vertue  of  a  late  Act  of  Common  Councell  shalbee  satisfied  and  paid  out 
of  the  Chamber  of  moneys  their  proporcions  of  money  aforesaid."  5 

Additional  items  of  information  concerning  the  civic  shows  of  the  third  decade 
of  this  century  may  be  found  in  the  Repertories.  On  24  September,  1633,  "  it  is 
ordered  by  this  Court  [of  Aldermen]  that  Mr.  Christmas  and  such  others  as  are 
imployed  for  the  making  of  the  pageants  and  shewes  against  the  Lord  Maiors 
day  shall  have  the  present  use  of  the  rooms  in  the  Greeneyard  for  the  fynishing 
of  the  said  workes."  6 

On  4  September,  1634,  "it  is  thought  fitt  and  soe  ordered  that  the  Greene- 
yard  and  roomes  therein  shalbe  ymployed  as  formerly  without  hurt  or  preiudise 
to  the  same  for  the  preparing  and  finishing  of  the  Pagents  and  other  devises 

1  See  Nicholl,  p.  206.  2  L.  M.  Pag.,  pt.  ii,  p.  37  f. 

3  Some  Acct.  of  the  Ironmongers,  p.  206  f.   Cf.  on  this  show  Malcolm,  ii,  p.  43;  Greg,  p.  8; 
J.  G.  Nichols,  p.  104;  Fairholt,  pt.  i,  p.  54;  J.  Nichols,  writing  in  Gent.  Mag.  for  November, 
1824,  p.  412,  had  not  seen  the  pamphlet. 

4  Cf.  Repertory  xliv,  fol.  81. 
6  Repertory  xliv,  fol.  90. 

6  Repertory  xlvii,  fol.  376  b.  The  show  for  this  year,  Londini  Emporia,  was  written  by 
Heywood:  I  have  not  seen  either  copy  or  reprint  of  the  pamphlet,  which  is  mentioned  by 
Fairholt,  pt.  i,  p.  57,  and  recorded  by  Greg,  p.  10;  J.  G.  Nichols,  p.  105;  and  Herbert,  ii, 
p.  659.  The  triumph  was  planned  for  Ralph  Freeman,  Clothworker. 


42  ENGLISH  PAGEANTRY 

against  the  next  Lord  Maior  day  "  1    John  Taylor  wrote  the  show  this  year  for 
Robert  Parkhurst  of  the  Clothworkers'  Company.2 

On  8  October,  1635,  "it  is  thought  fitt  and  soe  ordered  by  this  Court  for 
some  reasons  them  moveing  that  from  thenseforth  noo  pagents  or  other  shewes 
for  the  Lord  Maior  day  shall  be  made  in  the  Greeneyard  in  Leadenhall,  but  that 
the  Undertakers  thereof  shall  provide  some  other  place  for  the  makeing  thereof."  3 

1635  —  HEYWOOD  vs.  TAYLOR:   A  MATTER  OF  MONEY 

Taylor,  having  done  the  1634  Show,  was  underbid  in  1635;  we  find  in  the 
Ironmongers'  records  for  2  October,  i635,4  that  "  Robert  Norman  and  John 
Taylor  presented  to  the  Court  their  project  of  five  pageants  for  the  Lord  Maior's 
shew,  for  which  they  demanded  igoli,  and  under  that  price  they  would  not 
undertake  it." 

John  Christmas  and  Thomas  Heywood  also  presented  their  invention  of  five 
pageants  for  the  said  show,  viz: 

"  One  of  the  three  celestiall  goddesses,  Juno,  Pallas,  and  Venus. 

"  One  of  a  Sagettary,  because  ye  Sun  entreth  y*  day  into  the  signe  of  Sa- 
gettary:  both  theise  for  the  water  and  land. 

"  One  antique  pageant  for  pleasure. 

"  One  of  the  castle  of  the  god  Mars. 

"  One  of  the  harbour  of  happines. 

"  Which  pageants  they  offered  to  make,  furnish  well  and  sufficiently  to  the 
Company's  liking  for  iSoli.,  with  children  and  speakers,  and  their  apparell  and 
necessaryes  thereunto  belonging,  land  carriage  by  porters,  water  carriage  by 
boats  and  watermen  as  is  accustomed,  the  green  men  with  their  fire-works,  the 
musick  for  the  pageants,  with  linkes  and  torches  for  the  same,  and  to  give  the 
Company  five  hundred  bookes  of  the  declaracion  of  the  said  shew,  which  offer 
the  courte  accepted  and  agreed  thereunto;  and  for  performance  thereof  as  above- 
said,  the  said  Xpmas  and  Haywood  have  hereunto  subscribed  their  names."  5 


1  Repertory  xlviii,  fol.  419.    In  the  margin  stands  "  Greeneyard  at  Leadenhall  to  bee 
ymployed  for  makeing  of  Pagants." 

2  I  have  not  seen  —  nor  had  Fairholt  —  a  copy  of  the  descriptive  pamphlet  for  1634; 
its  title  is  recorded  by  Greg,  p.  25;   cf.  also  J.  G.  Nichols,  p.  105;  Fairholt,  pt.  i,  p.  57;  and 
J.  Nichols,  in  Gent.  Mag.  for  Nov.,  1824,  p.  413. 

3  Repertory  xlix,  fol.  321. 

4  Cited  from  Nicholl,  p.  222  f. 

5  The  agreement  seems  to  have  been  signed  by  John  and  Mathias  Christmas.    In  a  note 
Nicholl  records  "  for  the  project  and  invencion  of  Norman  and  Taylor,  the  Court  appointed 
xx8  to  be  paid  unto  them."    Various  expenses  connected  with  this  triumph  are  printed  by 
Nicholl,  pp.  224-225. 

The  title  of  the  show  for  this  year  was  Londini  Sinus  Salutis.  It  is  reprinted  in  Heywood's 
Works  (1874)  iv,  p.  283  f.;  cf.  also  Greg,  p.  10;  J.  G.  Nichols,  p.  105  (referring  to  Malcolm, 
ii>  P-  45);  Fairholt,  pt.  i,  p.  58;  J.  Nichols,  in  Gent.  Mag.  for  Nov.,  1824,  p.  413. 


THE  LORD  MAYOR'S  SHOW  43 

THE  CIVIL  WAR 

I  have  been  unable  to  find  any  mention  of  the  shows  for  1630  and  1636;  but 
the  longest  break  in  the  chain  of  seventeenth-century  triumphs  is  that  between 
1640  and  1655.  With  Heywood's  Londini  Status  Pacatus 1  the  formal  descriptions 
came,  for  a  time,  to  an  end;  but  there  were  flashes  of  brilliant  ceremony,  even 
during  the  period  of  the  Civil  War,  on  these  civic  holidays.  For  instance,  in 
1643,  there  seems  to  have  been  a  certain  amount  of  splendor  when  the  mayor 
took  his  oath,  even  if  there  were  no  pageants.  "  Munday,  the  xxxth  of  October 
1643  beeinge  the  Lord  Maiour's  daye,  because  the  2Qth  was  Sundaye  .  .  .  This 
daye  the  Wardens,  Assistantes  and  Liverye  of  this  Companye  [the  Goldsmiths] 
mett  heere  aboute  8  of  the  clock  in  the  morneinge,  and  haveinge  had  some  bread 
and  drinck,  they  went  to  the  Lord  Maior's  house  to  accompanye  him  to  West 
minster  (but  they  should  have  mett  him  att  Guildhall.)  The  Companye  went 
from  hence  to  his  Lordship's  house  in  such  manner  as  the  Wardens  and  Assis 
tantes  went  on  Simon  and  Jude's  day 2  and  from  the  Lord  Maior's  house  the  4 
almesmen  (as  on  the  other  daye)  leadeinge  the  waye,  and  the  Clerke,  and  the 
Beadle  and  the  youngest  of  the  Companye  formost,  untill  they  came  to  the 
Guildhall  gate,  in  Cateaton  Street,  where  the  Company  of  the  Fishmongers, 
attendinge  upon  the  old  Lord  Maior  ....  mett  this  Companye;  and  then  the 
Fishmongers,  the  youngest  of  them  goeinge  formost,  led  the  waye  up  St.  Lau 
rence  Lane,  and  this  Company  followed  them  in  the  like  manner  unto  the  3 
Craynes  wharfe,  where  this  Companye's  barge  (which  was  borrowed  of  the 
Grocers')  laye  ready  for  them,  in  which  they  went  to  Westminster."  3  An  ac 
count  of  the  ceremonies  of  1653  —  also  without  pageants,  but  not  wholly  with 
out  splendor  —  may  be  found  in  the  records  of  the  same  company.4  At  the 
Three  Cranes  Wharf  were  three  barges  ready,  "  but  could  not  get  to  land  by 
reason  of  the  lowe  tide  and  the  winde  against  them."  5 


1  Copies  of  which  are  in  BM.,  B.,  and  Gh.    The  pamphlet  is  reprinted  in  his  Works  (1874) 
v>  P-  3555  cf-  also  Greg,  p.  n;  J.  G.  Nichols,  p.  106;  Fairholt,  pt.  i,  p.  60.    Fairholt,  p.  62, 
points  out  the  aptness  of  the  following  passage  in  "  the  last  city  pageant  known  to  exist  before 
the  unhappy  civil  wars  had  commenced  ": 

"  Let  then  our  gratitude  and  pious  cares, 

Strive  to  entaile  them  [i.e.,  Peace,  Prosperity,  and  Plenty]  to  us  and  our  heires: 

Lest  that  too  late  (having  stern  War  accited) 

We  wish  that  Peace  which  (whilst  we  had)  we  slighted." 

2  The  Saturday  before,  when  the  mayor  took  his  oath  before  the  companies  at  the  Guild 
hall.    See  Prideaux,  i,  p.  216. 

3  The  Goldsmiths'  records,  printed  by  Prideaux,  i,  p.  217. 

4  See  Prideaux,  ii,  p.  48  f . 

5  Ibid.,  p.  50. 


44  ENGLISH  PAGEANTRY 

1655  —  GAYTON'S  "CHARITY  TRIUMPHANT" 

Before  the  Cromwellian  rule  had  passed,  descriptive  pamphlets  of  the  Lord 
Mayor's  Show  reappear.  That  for  1655,  by  Edmund  Gayton,  begins  the  new 
series.  It  is  a  six-page  pamphlet,  with  a  three-page  dedication,  signed  by  the 
author;  the  other  three  pages  contain  a  description  of  the  show  in  narrative 
verse.1  The  preface  is  important : 

"  I  cannot,"  says  Gayton,  "  here  set  forth  the  reason  of  the  late  extinguishing  these  Civick 
Lights,  and  suppressing  the  Genius  of  our  Metropolis,  which  for  these  Planetary  Pageants 
and  Pretorian  Pomps  was  as  famous  and  renouned  in  forraign  Nations,  as  for  their  faith, 
wealth  and  valour.  The  Ingenie,  Artifices,  Mysteries,  Shewes,  Festivals,  Ceremonies  and 
Habits  of  a  State  being  amongst  the  Decora,  and  unseparable  Ornaments  of  it.  Take  away 
the  Fasces,  and  the  Consuls  are  no  more  feared,  but  scorn'd;  Let  fall  the  noble  Sword  of  the 
City  in  any  place,  and  you  are  sure  the  Mayor  has  there  no  Priviledge,  no  Livery,  no  dis 
tinguishing  of  Societies,  and  Fraternities,  no  Caps  (in  daies  of  old)  no  Prentices,  no  Truncks, 
no  Citizens,  no  Robes,  no  Judges,  no  Maces,  no  Magestrate:  And  so  for  Anniversary  Shews, 
and  harmlesse  and  merry  Recreations,  without  a  moderate  permission  of  them,  [there  is]  very 
little  content  to  the  multitude.  Right  Honourable,  I  therefore,  being  the  Son  of  a  Citizen, 
Congratulate  this  Return  of  the  City-Gallantry  and  manifestation  of  her  severall  Splendors 
in  your  Majority  to  your  honoured  self,  it  being  most  proper  that  the  lost  Beauty  and  Mag 
nificence  of  the  place,  should  be  restored  by  One  (if  I  mistake  it  not)  a  brother  of  the  prime 
Company,  and  therefore  most  fit  to  lead,  that  so  it  being  begun  in  the  Virgin  society,  it  may 
like  Vestall  fire  never  go  out:  And  because  the  Scenicall  Contrivement  &  Pageant  Bravery 
is  but  an  Ephemeron,  or  Diurnall  birth  and  issue  of  one  day,  and  so  Exit  till  the  next  yeere.2 
Poetical  fancy  do's  beg  leave  to  supply  that  defect,  and  to  inlarge  the  glory  of  your  day  (my 
Lord)  to  the  period  of  your  year;  And  because  many  a  far  off 3  will  be  glad  to  heare  what 
they  could  not  see,  as  some  would  willingly  retaine  and  keep,  what  this  day  was  seen  by 
them.4  This  short  Poem  shall  be  to  those  that  saw  it,  a  Remembrancer,  or  representation, 
and  to  the  remote  Welwishers  of  the  Cities  honour,  a  written  Pageant  or  Pegma  Metricum, 
and  so  I  address  myself  (my  Lord)  to  your  Virgin,  whom  I  shal  labour  to  make  as  famous, 
as  your  Honour  has  made  her  Dowagable  .  .  ." 

The  Mercers'  Virgin  seems  to  have  been  the  only  pageant  exhibited  this  year 
-  what  Fairholt  calls  "  the  old  realization  of  the  Company's  arms  —  the  crowned 
Virgin  on  horseback."  5    The  mayor  made  the  voyage  to  Westminster  by  water, 
and  "  thirty  canons  went  off."    Unfortunately  the  weather  was  bad: 


1  Copies  may  be  found  in  BM.  and  Gh.,  and  it  is  reprinted  in  Fairholt,  pt.  i,  p.  170;   cf. 
also  Hone,  p.  249;   Fairholt,  pt.  i,  p.  64;   J.  Nichols,  in  Gent.  Mag.  for  Dec.,  1824,  p.  514; 
J.  G.  Nichols,  p.  106.   The  latter  notes  that  "  this  is  not  a  description  of  the  show  "  —  mean 
ing  that  it  is  not  one  of  the  regular  descriptive  pamphlets. 

2  Here  is  either  an  error  in  punctuation,  or  a  verb  omitted. 

3  Alluding,  perhaps,  to  the  Royal  Family  and  nobles,  then  in  exile. 

4  This  period  should  be  a  comma;  or  a  else  a  verb  is  again  omitted. 

5  Fairholt,  pt.  i,  p.  64.    The  verse  in  Gayton's  description,  "  She  how  she  rides!    See  how 
she  comes! "  would  apply  equally  well  to  her  if  she  rode  in  a  car.    There  seem  to  have  been 
no  speeches. 


THE  LORD  MAYOR'S  SHOW  45 

The  sight  was  rare,  but  envious  clouds, 
The  glorious  day  in  showrs  beshrowds; 
And  Winds  in  Malice  or  in  Love 
To  sport  or  court  her *  highly  strove. 

1656 — JOHN  BULTEEL'S  "LONDON'S  TRIUMPH" 

On  14  October,  1656,  the  Court  of  Aldermen  ordered  "  that  Mr  Jarman  [may] 
vse  the  place  or  Passage  newly  made  out  of  Leadenhall  into  Limestreete  for 
preparing  the  Pageant  intended  by  the  Company  of  Skinners  against  the  Lord 
Maiors  day. 

"It  is  thought  fit  and  ordered  by  this  Court  that  Mr  Jarman  doe  with  all 
Convenient  Speed  proceed  to  make  or  fit  a  place  or  howse  at  thre  Cranes  for 
the  Citie  Barge  there  being  not  place  to  lay  or  preserve  the  same  from  Spoyle."  2 

Mr.  Jarman,  or  German,  was  the  artificer  for  several  years;  but  the  author 
of  the  1656  Show  is  not  so  easily  determined.  Fairholt3  records  his  initials,— 
J.  B.,  —  but  did  not  see  a  copy  of  his  pamphlet.  There  is  one,  now,  in  the 
British  Museum,4  and  the  catalogue  of  this  library  attributes  it  to  John  Bulteel.5 
The  epistle  dedicatory — signed  I.  B.  —  is  addressed  to  the  Lord  Mayor,  Sir 
Robert 6  Tichburn,  and  his  Company,  the  Skinners.  After  a  eulogy  of  the  city, 
its  government  and  antiquity,  and  an  historical  sketch  of  the  office  of  mayor,  the 
show  is  described.7  "  The  loving  members  of  the  honourable  Societie  exercising 
Arms  in  Cripplegate  Ground  .  .  .  march'd  before  him  [the  Mayor]  to  the  three 
Crane  Wharf e,  where  part  of  them  under  the  Red  Colours  embarqued  themselves 
in  three  severall  Barges;  and  another  part  took  water  at  Stone  Staires  being 
under  green  colours  as  enemies  to  the  other:  and  .  .  .  there  began  an  encounter 
between  each  party,  which  continued  all  the  way  to  Westminster."  The  Com 
panies  attended  the  mayor  in  their  barges;  "when  the  Barges  wherein  the 


1  The  Virgin.  2  Repertory  Ixiv,  fol.  238. 

3  L.  M.  Pag.,  pt.  i,  p.  64;  cf.  J.  Nichols,  mGent.  Mag.  for  Dec.,  1824,  p.  514. 

4  BM.,  C.  jj.  e.  10  —  in  which  Sig.  B.  3  verso  is  slightly  mutilated. 

5  There  is  nothing  in  the  pamphlet  itself  to  suggest  that  I.  B.  means  John  Bulteel,  but 
inquiry  revealed  the  fact  that  the  BM.  cataloguers  made  their  assignment  on  the  authority 
of  The  Bibliographer's  Manual  of  English  Literature,  by  Walter  Thomas  Lowndes.    See  the 
new  ed.,  revised  and  enlarged  by  Henry  G.  Bohn,  (London,  1864)  i,  p.  91,  col.  2,  where  this 
"  very  rare  "  pamphlet  is  ascribed  to  Bulteel,  though  no  authority  is  given.    The  pamphlet 
is  also  assigned  to  Bulteel  in  the  Handbook  to  the  Popular,  Poetical  and  Dramatic  Literature  of 
Great  Britain  ...  by  W.  Carew  Hazlitt  (London,  1867)  s.  v.  BULTEEL  (p.  66);   cf.  also  the 
General  Index  to  Hazlitfs  Handbook  and  his  Bibliographical  Collections  (1867-1889)  by  G.  J. 
Gray,  (ed.  W.  C.  Hazlitt  [London,  1893],  pp.  105  and  464);  and  the  D.  N.  B.,  s.  v.  BULTEEL. 

6  Fairholt  misprints  Roger,  but  in  the  first  volume  of  his  Scrapbook  (in  the  SA.  library) 
he  corrects  himself  in  a  pencilled  note.    This  mayor  died  a  prisoner  in  the  Tower;  there  are 
two  portraits  of  him  in  Fairholt's  Scrapbook. 

7  The  pamphlet  cited,  p.  10  f . 


46  ENGLISH  PAGEANTRY 

Souldiers  were,  came  right  against  White-Hall,  they  saluted  the  Lord  Protector 
and  his  Councell,  with  severall  peales  of  shott,  which  the  Lord  Protector  an 
swered  with  signal  testimonies  of  grace  and  courtesie:  and  thence  proceeding 
forward  to  Westminster-Staires,  they  gave  another  volley  at  the  landing  of  the 
Lord  Maior."  While  that  official  was  taking  his  oath,  the  two  parties  of  soldiers, 
after  a  short,  sharp,  encounter,  arranged  a  truce;  saluting  the  mayor  and  Crom 
well,  the  barges  returned;  and  the  mayor,  landing,  "  put  an  end  to  the  Water 
solemnite;  than  which  there  hath  not  been  a  more  gracefull  fight  upon  the 
Thames  ever  since  the  city  stood."  * 

Against  the  Old  Change  the  first  land  pageant  greeted  mayor  and  Companies; 
"  two  leopards  bestrid  by  two  Moors,  attird  in  the  habit  of  their  Country  " 
stood  on  the  pageant;  and  at  the  four  corners  sat  four  virgins  with  their  hair 
dishevelled.  "  This  seem'd  to  be  the  embleme  of  a  city  pensive  and  forlorn  "; 
an  old  man,  in  black,  threw  off  his  mourning  robes  at  the  Mayor's  approach,  and 
bewailed  the  condition  of  his  native  place  no  longer,  but  burst  into  a  speech  of 
extravagant  joy.  After  he  had  spoken,  the  pageant  moved  on  before  the  mayor 
as  far  as  the  Mercers'  chapel,  "  a  Gyant  being  twelve  foot  in  height  going  before 
the  Pageant  for  the  delight  of  the  people.  Over  against  Soper-Lane  End,  stood 
another  Pageant  also;  upon  this  were  placed  several  sorts  of  Beasts,  as  Lyons, 
Tygers,  Bears  ...  in  a  great  Wildernesse;  at  the  forepart  whereof  sate  Pan  with 
a  Pipe  in  his  hand  .  .  ."  2  Here  Orpheus  played,  and  the  wild  beasts  danced;  "  the 
Embleme  of  this  Pageant  seem'd  proper  to  the  Company  out  of  which  the  Lord 
Maior  was  elected  ...  A  second  signification  of  this  Emblem  may  be  this;  that 
as  Orpheus  tam'd  the  wild  Beasts  by  the  alluring  sound  of  his  melody;  so  doth 
a  just  and  upright  Governour  tame  and  govern  the  wild  affections  of  men,  by 
good  and  wholesome  Lawes."  3  Orpheus  addressed  the  mayor,  after  which 
the  chief  magistrate  —  preceded  by  the  military  —  rode  to  his  house  in  Silver 
Street. 

"  Now  for  a  conclusion  to  the  Triumphs  of  this  Day,  let  me  not  deprive  that 
worthy  Architect  Mr.  Jerman,  of  a  debt  so  justly  due  to  his  ingenuitie,  as  is  the 
praise  which  he  hath  merited  by  the  .  .  .  rare  inventions  wherewith  he  did  adorn 
this  Day's  Triumph."  4  The  pamphlet  ends  with  a  congratulation  to  the  mayor 
who  "  must  needs  be  the  most  welcome  Governour  that  hath  for  many  years 
rul'd  this  city:  who  comes  bringing  in  his  hand  the  Olive  Branch  of  Peace,  re 
storing  to  the  city  those  Ancient  Customs  of  Joy  and  Triumph,  which  formerly 
gave  it  the  Title  of  the  most  Fortunate,  Plentiful  and  Flourishing  Citie  in  the 
World." 


1  Ibid.,  p.  ii. 

2  Ibid.,  p.  13. 

3  Ibid.,  p.  14.    (Does  the  expression  may  be  mean  that  Bulteel  had  nothing  to  do  with 
planning  the  show  ?) 

4  Ibid.,  p.  16. 


THE  LORD  MAYOR'S  SHOW  47 

1657 — TATHAM'S  FIRST  SHOW;  JARMAN,  ARTIFICER 

In  1657,  John  Tatham  wrote  his  first  show,  entitled  London's  Triumphs,  for 
Richard  Chiverton,  Skinner.1  The  records  of  the  Court  of  Aldermen,  under 
date  of  13  October,  1657,  read:  "  It  is  Ordered  that  Mr  Jarman  have  Liberty 
to  vse  the  roome  in  Leadenhall  called  the  Pageant  howse  for  preparing  of  some 
pageants  intended  for  ye  Lord  Maiors  day." 2  And  under  28  October,  "  It  is 
ordered  by  this  Court  that  Mr  Jarman  and  such  as  are  Imployed  by  him  shall 
and  are  hereby  authorized  to  tye  vp  such  signes  in  any  of  the  streetes  of  this 
city  as  they  shall  see  fitt  for  the  cleerer  passage  of  the  pageants  on  the  Lord 
Maiors  day."  3 

There  was,  this  year,  "  no  Shew  upon  the  Water,  more  then  (sic)  was  the  last 
year  "  -  so  that  we  may  suppose  the  militia  accompanied  the  mayor,  and  per 
haps  had  a  mock  fight.  At  Cheapside  Cross  were  the  first  land  pageants  —  a 
rock  and  a  wilderness.  On  the  latter  were  beasts,4  with  a  "  Satyre  "  and  a  Pil 
grim,  or  Traveller.  On  the  other  pageant  was  Fame,  and  "  in  the  Chariot,"  5 
the  four  Continents  —  Europe,  Asia,  Africa,  and  America.  The  Pilgrim  ad 
dressed  the  chief  magistrate. 

Near  the  mayor's  house,  in  Dowgate,  the  second  triumph  awaited  him  —  a 
sea-chariot,  wherein  sat  Neptune  with  Luna  at  his  feet,  and  two  nymphs  in 
attendance.  Tritons  surrounded  his  chariot.  With  a  farewell  speech  by  Nep 
tune,  the  show  was  over. 

Tatham  wrote  all  the  Lord  Mayor's  triumphs  from  1657  to  1664  inclusive. 
As  Fairholt  outlines  them  all,  we  need  not  consider  them  here  in  detail.  On 
ii  October,  1659,  the  Court  of  Aldermen  "  thought  fitt  and  ordered  .  .  .  yt  such 
convenient  place  of  Gresham  Colledge  as  Mr  Jarman  shall  appoint,  may  be  used 
for  preparing  the  pageants,  intended  by  the  Company  of  Groc:  against  the 
Lord  Maiors  day."  6 

EVELYN  AND  PEPYS  ON  THE  SHOWS 

Both  Evelyn  and  Pepys  saw  the  1660  Show;  the  former  records:  "  Going 
to  London,  my  Lord  Maior's  shew  stopped  me  in  Cheapside;  one  of  ye  pageants 
represented  a  greate  wood,  with  ye  royal  oake  and  historic  of  his  Majesty's 


1  A  copy  of  this  is  in  BM.    Cf.  Fairholt,  pt.  i,  p.  65;  J.  G.  Nichols,  p.  107;  J.  Nichols,  in 
Gent.  Mag.,  Dec.,  1824,  p.  514. 

2  Repertory  Ixv,  fol.  199. 

3  Ibid.,  fol.  211.    The  1657  pamphlet  ends:   "  The  several  Fabricks  and  Structures  of  the 
whole  daies  Tryumph,  were  performed  by  the  Industry  of  Mr  German,  a  man  not  onely 
excellent  in  his  Art,  but  faithful  in  his  undertakings." 

4  Alluding  to  the  trade  of  the  mayor,  who  was  a  Skinner. 

5  Apparently  behind  the  rock,  in  the  back  part  of  the  pageant. 

6  Repertory  xlvi,  fol.  320  b.  A  full  list  of  Tatham's  shows  may  be  found  in  the  Bibliography 
under  his  name. 


48  ENGLISH  PAGEANTRY 

miraculous  escape  at  Boscobel."  1  Pepys  writes:  "...  had  a  very  good  place 
to  see  the  pageants  which  were  many,  and  I  believe  good,  for  such  kind  of  things, 
but  in  themselves  but  poor  and  absurd." 

Under  date  of  29  October,  1661,  Evelyn  wrote:  "  I  saw  the  Lord  Maior  passe 
in  his  water  triumph  to  Westminster,  being  the  first  solemnity  of  the  nature  after 
20  years." 3  The  water  show  this  year  was  more  elaborate  than  any  since  the 
days  of  Heywood.  On  his  way  to  Westminster,  the  Mayor  —  Sir  John  Fred 
erick  —  was  accosted  by  a  vessel,  rigged  and  manned,  near  which  was  Galatea, 
a  sea-nymph,  drawn  in  a  Sea  Chariot  by  two  Dolphins,  which  were  ridden  by 
Sirens  who  played  on  harps.  Behind  them  were  two  Sea-Lions,  ridden  by  Tritons, 
who  played  upon  "  retorted  Pipes  or  Homes  antique."  Other  Tritons  were 
around  the  Ship  "  wantoning  in  the  water."  On  the  mayor's  approach,  the 
Boatswain  of  the  ship  addressed  him,  and  bade  him  hearken  to  the  Captain's 
speech;  then  the  mayor,  with  his  attendant  barges,  continued  to  Westminster, 
while  the  "  Ship,  Furniture  and  annexed  Sceans  return,  and  are  received  at  the 
place  where  the  Ship  first  lanched,  and  from  thence  are  conveyed  through  Pauls 
Church-yard  into  Cheapside  where  they  make  a  stand  near  St.  Lawrence  Lane." 

Evelyn  mentions  the  show  for  1662  under  29  October  of  that  year,4  when  "was 
my  Lo.  Maior's  show,  with  a  number  of  sumptuous  pageants,  speeches  and  verses. 
I  was  standing  in  an  house  in  Cheapside  against  the  place  prepar'd  for  their 
Matles.  The  Prince  and  heire  of  Denmark  was  there,  but  not  our  King."  5 


1  Diary,  ii,  p.  118  (under  29  October,  1660).    The  pamphlet  describing  this  show  —  en 
titled  The  Royal  Oake  —  may  be  found  in  the  BM.  and  Bodl;   it  is  reprinted  by  Fairholt, 
pt.  ii,  p.  87.    Cf.  also  ibid.,  pt.  i,  p.  68,  and  J.  G.  Nichols,  p.  108.    What  is  apparently  another 
version  of  this  pamphlet  (The  Several  Speeches  made  to  the  Honorable  Sir  Richard  Brown, 
Lord  Mayor,  etc.)  may  be  found  in  the  Gh.  and  Camb.  Univ.  libraries. 

[Cf .  Withington,  "A  Civic '  Triumph '  circa  1 700,"  in  Journ.  Eng.  Germ.  Philol.  for  January, 
1918,  p.  125,  n.  i,  (where  Fairhold  should,  of  course,  read  Fairholt}]. 

2  Diary,  i,  p.  270  (under  29  October,  1660). 

3  Diary,  ii,  p.  137.    (Bray,  the  editor,  refers  to  Nichols  in  Gent.  Mag.,  Dec.,  1824,  p.  516.) 
The  original  pamphlet  for  this  show  is  in  BM.  and  Gh.;   it  is  reprinted  in  Heath  (3d  ed.) 
p.  475;  cf.  also  Fairholt,  pt.  i,  p.  68;  J.  G.  Nichols,  p.  108. 

4  Ibid.,  ii,  p.  153.    Bray  refers  to  Nichols  in  Gent.  Mag.,  Dec.,  1824,  p.  517.    Copies  of 
this  pamphlet  are  in  BM.  and  Bodl.;  cf.  also  Fairholt,  pt.  i,  p.  71;  J.  G.  Nichols,  p.  109. 

5  Cf.  Repertory  Ixviii,  fol.  205,  under  date  of  7  October,  1662:    "  It  is  thought  fitt  and 
ordered  by  this  Court  [of  Aldermen]  that  the  Company  of  Clothworkers  may  make  vse  of 
such  part  of  the  Vnder  Gallery  of  Gresham  Colledge  for  preparing  and  fitting  their  Pageants 
against  the  Lord  Maiors  day,  as  shall  bee  most  convenient  for  y*  purpose."   The  1662  Show — 
written  for  Sir  John  Robinson,  Clothworker,  —  is  printed  without  its  author's  name.    The 
unusually  apologetic  preface  ends:    "  My  Lord,  I  have  no  better  way  of  excusing  my  own 
Insufficiency  then  (sic)  by  attempting  little,  and  making  the  Brevity  of  my  discourse  expiate 
the  Insipidnesse;  which  I  cannot  perform  more  Gratefully  to  your  or  my  self,  then  (sic)  by 
telling  you  briefly,  that  I  am  your  Lordships  very  much  obliged  Servant;    But  what  my 
Name  is,  none  shall  know,  but  by  your  Lordships  Revelation." 


THE  LORD  MAYOR'S  SHOW  49 

THE  SHOW  FOR  1663 

Pepys  writes  under  date  of  29  October,  1663:  "  The  dinner,  it  seems,  is  made 
by  the  Mayor  and  two  Sheriffs  for  the  time  being,  the  Lord  Mayor  paying  one 
half  and  they  the  other.  And  the  whole,  Proby  says,  is  reckoned  to  come  to 
about  7  or  £800  at  most ...  1  ...  took  coach  and  through  Cheapside,  and  there 
saw  the  pageants,  which  were  very  silly  ..." 

This  show  included  an  arbor,  where  Faunus  —  strange  mixture  of  forester  and 
woodman,  in  green  and  brown  —  sat  surrounded  by  satyrs,  who  played  on  rude 
instruments,  as  they  sang  and  danced  for  the  people.  These  figures  suggest,  as 
I  have  noted,2  the  "  drolls,"  and  acrobats,  which  were  common  enough  in  the 
shows  of  this  time,  and  which  we  found  as  early  as  the  "  royal-entries  "  of  i5473 
and  1554.*  They  may  be  a  descendant  of  the  "wild-man"  tinged  with  mythology. 

Pepys  did  not  see  the  show  in  1664,  but  his  "  boy  and  three  mayds  went  out." 
Evelyn  rather  enjoyed  himself  this  year: 5  "  Oct.  29,  1664.  Was  ye  most  mag 
nificent  triumph  by  water  and  land  of  ye  Lord  Mayor.  I  din'd  at  Guildhall  at 
ye  upper  table  .  .  .  The  feast  was  said  to  cost  £1000.  I  slipt  away  in  ye  crowd, 
and  came  home  late."  A  notice  of  the  civic  show  for  this  year  may  be  found  in 
the  London  Intelligencer  for  Monday,  31  October,  i664.6  As  it  is  rare,  I  quote  it: 

London,  Octob.  29.  —  This  day  the  Right  Honourable  the  Lord  Mayor  of  the  City  of 
London  (Sir  John  Lawrence)  was  sworn  into  the  said  Office,  according  to  Custome,  at  the 
Exchequer-Barre:  After  which,  having  done  the  usuall  duty  of  the  Courts  of  Common-Pleas 
and  Chancery,  he  return'd  into  the  City,  where  the  Solemnity  of  the  day  was  perform'd  with 
great  Magnificence  and  in  excellent  Order.  And  for  the  greater  Honour  of  the  Spectacle, 
Their  Majesties  Themselves  were  pleased  to  vouchsafe  it  their  presence,  and  were  presented 
with  a  choice  and  sumptuous  Banquet:  but  the  glory  of  the  Ceremony  was  much  abated  by 
the  foulness  of  the  weather. 

On  account  of  the  plague  there  were  no  pageants  in  1665.  The  mayor  took 
his  oath  before  the  Lieutenant  of  the  Tower,  at  the  "  further  Gate  of  the  Bul 
wark,"  and  after  the  ceremony  gave  a  dinner  at  his  house.7  There  was  a  plague 
at  Norwich  this  same  year;  for  under  date  of  27  May,  1665,  "  it  is  ordered  (in 
consequence  of  the  Plague)  that  the  Bellman  doe  make  Proclamation  every 


1  Diary,  iii,  p.  322.     Tatham's  show  for  this  year,  entitled  Londinum  Triumphans,  was 
written  for  Sir  Anthony  Bateman,  Skinner.    A  copy  of  the  descriptive  pamphlet  is  in  Gh.; 
cf.  also  Fairholt,  pt.  i,  p.  71;  J.  G.  Nichols,  p.  109;  Wadmore,  p.  145;  J.  Nichols,  in  Gent. 
Mag.,  for  Dec.,  1824,  p.  517. 

2  See  above,  vol.  i,  p.  77.  3  See  above,  vol.  i,  p.  187. 

4  See  above,  vol.  i,  p.  194,  and  n.  i. 

5  Diary,  ii,  p.  172.    This  —  the  last  of  Tatham's  shows  —  was  written  for  Sir  John  Law 
rence,  Haberdasher.    Copies  of  the  pamphlet  are  in  BM.,  Bodl.,  and  Gh.;  cf.  also  J.  Nichols 
in  Gent.  Mag.,  Dec.,  1824,  p.  517;  Fairholt,  pt.  i,  p.  71;  J.  G.  Nichols,  p.  109. 

6  No.  85,  p.  704. 

7  See  the  London  Newes  for  2  November,  1665  (no.  89,  p.  1082). 


50  ENGLISH  PAGEANTRY 

mercate  day,  betweene  this  and  the  Guilde,  that  ther  shall  be  noe  extraordinary 
solempnities,  by  hanginge  out  cloaths,  Pictures,  Garlands  or  Streamers,  this 
nexte  Guilde,  upon  Tuesday  three  weekes.  And  this  Order  is  made  by  the  ad 
vice  of  ye  Right  Honble  the  Ld  Lieu1  of  ye  City."  l 

1664-69  —  NEWSPAPER  ACCOUNTS  OF  THE  SOLEMNITIES 

I  have  been  able  to  find  no  descriptive  pamphlets  for  the  years  which  lie  be 
tween  1664  and  1671 ;  but  on  some  of  these  years  there  were  shows.  The  London 
Gazette  for  28-31  October,  i66y,2  notes  under  date  of  29  October:  "  This  day 
Sir  William  Peck,  Lord  Mayor  of  the  City  for  the  ensuing  year,  attended  by  the 
Aldermen  his  Brethren,  and  the  two  Sheriffs,  with  several  Companies  of  the 
Livery-men,  came  in  their  Barges  to  Westminster  where,  in  the  Court  of  the 
Exchequer,  his  Lordship  took  his  Oath  with  the  usual  Solemnities."  Had  there 
been  pageants  on  this  occasion,  it  is  probable  that  the  newspaper  would  have 
mentioned  them. 

The  same  journal  for  28-31  October,  i668,3  notes  that  on  i  November,  "  Sir 
William  Turner,  Lord  Mayor  of  the  City  of  London  for  the  year  ensuing,  went 
in  his  Barge  to  Westminster,  attended  by  the  Aldermen  his  Brethren,  the  Sher 
iffs,  and  the  several  Companies  of  the  City  in  their  Barges,  and  took  the  usual 
Oath  administered  on  the  like  occasions."  Again  there  is  no  mention  of  pag 
eantry.4 

1671  —  THOMAS  JORDAN'S  "  LONDON'S  RESURRECTION  " 

With  1671,  a  new  writer  of  shows  appears —  Thomas  Jordan,  who  wrote  the 
civic  triumphs  from  this  year  until  1685,  when  he  was  succeeded  by  Matthew 
Taubman.  A  full  list  of  his  pamphlets  may  be  found  in  the  Bibliography,  under 
his  name.  He  had  been  a  writer  of  plays  and  masques  from  1640  on;  and  Fair- 
holt  5  notes  that  his  poetry  is  chiefly  remarkable  for  its  allusion  to  contemporary 
events.  An  interesting  thing  about  his  productions  is  the  "  interludes,"  which 
were  presented  during  the  banquets  in  Guildhall.6 

The  title  —  London's  Resurrection  —  suggests  that  no  descriptive  pamphlets 
had  appeared  for  a  few  years.7  The  first  pageant  was  "  a  Forests  (sic)  properly 

1  Court  Book  no.  23,  fol.  247,  cited  by  Ewing,  p.  18. 

2  No.  204,  p.  2,  col.  2.  3  The  London  Gazette,  no.  309,  p.  2,  col.  2. 

4  I  can  find  no  mention  of  a  Lord  Mayor's  Show  —  nor  any  reason  why  one  should  not 
be  held  —  in  the  London  Gazettes  of  October  to  November,  1670.    There  are,  in  the  British 
Museum,  no  periodicals  for  1666  and  1669. 

5  L.  M.  Pag.,  pt.  ii,  p.  no. 

6  Strictly  speaking,  these  are  not  parts  of  the  shows  themselves;   but  they  are  included 
in  the  descriptive  pamphlets,  and  may  be  considered  Jordan's  answer  to  the  demand  for 
novelty  or  for  further  entertainment. 

7  This  show  of  Jordan's  —  descriptive  pamphlets  of  which  are  in  HL.,  Gh.,  BM.,  and 
Bodl.  —  is  reprinted  by  Fairholt,  pt.  ii,  p.  113  f.    For  mention  of  it  see  also  Fairholt,  pt.  i, 
P-  755  J-  G.  Nichols,  p.  no,  and  Wadmore,  p.  148. 


J AC  OB      HAL  L 


JACOB  HALL 


THE  LORD  MAYOR'S  SHOW  51 

accomodated  with  several  Animals,  Sylvans,  Satyrs,  and  Wood-Nymphes,  sitting 
and  stirring  in  very  good  Order  .  .  .  And  in  the  Front  are  two  Negroes,  richly 
adorned  with  Oriental  Pearls  and  Jewels  mounted  upon  two  Panthers."  1  A 
wilderness,  inhabited  by  birds  and  wild  beasts,  was  to  have  been  the  first  pag 
eant,2  but  was  —  it  seems  —  the  second.  On  this  was  erected  a  "  stately  struc 
ture,  formed  in  the  figure  of  a  pyramid,  with  four  triumphal  arches;  "  on  the 
first  of  which  sat  Orpheus,  in  back  of  whom  was  a  beautiful  woman  representing 
Amity;  and  on  the  highest  part  of  the  pyramid  sat  a  "  female  negra  "  repre 
senting  Africa. 

Orpheus  addressed  the  mayor,  resigning  to  him  his  power  of  bringing  concord 
to  animals  by  harmony. 

.  .  .  This  City  (which  my  Pageant  doth  express) 
May  very  well  be  call'd  a  Wilderness. 
A  Wood  where  all  the  Wild  and  Brutish  Creatures 
Lie  lurking  in  the  Dens  of  mens  bad  Natures; 
Which,  if  you  can  reduce,  you  will  be  fam'd 
For  quelling  more  than  ever  Orpheus  tam'd: 
No  doubt  but  your  endeavors  will  be  shown 
And  you'll  perform  it  (if  it  can  be  done.) 
*        *        *        * 

Union  breeds  Peace  and  Plenty  in  a  Land 
But  Cities  self-divided,  Cannot  stand. 

Then  the  mayor  and  his  retinue  went  through  Cheapside,  and  by  the  way  the 
third  3  scene  or  pageant  was  presented.  This  was  an  imperial  palace  of  Pleasure, 
in  front  of  which  sat  four  female  figures,  representing  Justice,  Temperance,  Peace, 
and  Plenty,  with  attendant  nymphs.  On  the  highest  part  was  Fame,  crowned 
and  winged ; 4  in  her  hand  she  carried  a  trumpet  on  which  was  hung  the  royal 
banner. 

The  mayor,  having  sufficiently  viewed  "  this  beautiful  building  "  and  the 
figures,  continued  his  journey  to  the  Guildhall;  during  the  banquet,  the  waits 
sang  "  excellent  musick."  5  Then  "  they  make  provision  for  a  piece  of  drollery 
to  be  sung  in  parts  and  shapes  "  by  Hoyden,  a  countryman  of  the  West,  Free 
man,  a  citizen,  and  Billet,  a  soldier. 


1  Pamphlet,  p.  3.    The  show,  it  may  be  noted,  was  written  for  Sir  George  Waterman, 
Skinner. 

2  See  Fairholt's  reprint,  pt.  ii,  p.  118  and  p.  138.    Reference  to  the  "  postscript  "  on  the 
latter  page,  shows  us  that  Jacob  Hall  and  his  tumblers  performed  "  near  to  the  presence  of 
the  king,  queen,  duke,  and  other  beam?  of  the  royal  family,  near  Milk-street  end."    In  the 
Guildhall  pamphlet  there  is  no  mention  of  Hall. 

3  Called  the  second,  in  Fairholt,  pt.  ii,  p.  120. 

4  All  these  figures  were,  apparently,  alive,  although  none  spoke. 

5  The  first  song,  "  consisting  of  three  distinct  Voices,  with  a  chorus  to  each  "  was  "  pur 
posely  composed  for  my  Lord  Mayor's  table." 


52  ENGLISH  PAGEANTRY 

INTERLUDES  AT  THE  BANQUET 

This  is  a  musical  dialogue  with  elements  of  farce  —  undoubtedly  the  audience 
laughed  when  Hoyden  whipped  Freeman.  There  is  no  plot,  and  the  fun  is  prim 
itive.  Citizen  and  countryman,  discovering  that  neither  can  get  along  without 
the  other,  agree  to  support  the  soldier;  and  the  concluding  chorus  informs  us 
that  "  a  union  well-grounded  no  malice  can  hurt." 

After  this  "  droll,"  the  second  course  of  the  dinner  was  served;  it  was  fol 
lowed  by  another  "  representation  to  salute  his  Lordship,  which  consisteth  of 
three  parts,  viz.  —  A  Countryman,  A  Citizen,  and  Sedition,  an  old  Instrument 
of  Oliver's  Faction."  This  appears  to  have  been  another  musical  show —  the 
Countryman  is  the  same  Tom  Hoyden  of  the  last  "  droll;  "  he  bemoans  his  fate, 
that  ever  he  left  the  West  Country.  Enter  Citizen,  who  has  at  first  little  sym 
pathy  for  the  gulled  countryman,  but  who  finally  takes  pity  on  him.  As 
they  are  going  out  to  eat,  Oliver  Faction  —  who  loves  to  sow  the  seeds  of  strife 
—  enters;  he  wonders  why  he,  who —  till  lately —  had  been  in  great  request, 
should  now  be  left  out  of  anything.  After  an  argument  with  the  citizen,  he  is 
whipped  and  ejected  by  Hoyden;  Oliver  finally  promises  not  to  hurt  the  city, 
and  all  unite  in  singing  her  glory. 

The  banquet  and  these  interludes  took  all  the  afternoon.  Dinner  over,  the 
procession  of  the  morning  marched  by  torchlight  to  the  Skinners'  Hall,  where 
the  pageant  called  the  Wilderness  made  a  stand,  and  Orpheus  wished  the  Lord 
Mayor  joy.  Especial  care  was  taken  to  lodge  the  silk-works  and  triumphs  in 
some  secure  place,  until  they  could  be  removed  to  Skinners'  Hall  "  in  regard 
they  are  of  some  weight,  and  the  burthen  of  the  day  was  heavy  to  the  under 
takers." 

It  may  be  remarked  that  the  royal  family  witnessed  this  show;  indeed,  the 
king  "  graced  the  triumphs  "  of  1672,  1673,  and —  with  many  nobles —  that  of 
1674  as  well.1  Almost  a  century  later,  "  it  was  usual  with  the  members  of  the 
royal  family  to  witness  the  civic  procession  on  Lord  Mayor's  day  either  from 
the  leads  of  Whitehall,  as  it  passed  on  the  Thames,  or  from  balconies  in  the  city 
as  it  returned  on  land."  2 

SIMILARITY  OF  THE  SHOWS  FOR  1672  AND  1673 

.  The  marked  similarity  of  Jordan's  Shows  for  1672  and  1673  3  may  not  be 
due  wholly  to  Jordan's  inability  to  invent  new  material  fitting  to  the  Grocers' 
Company,  for  which  both  shows  were  written.  His  dedication  to  that  Worshipful 


1  Cf.  the  title-pages  of  the  pamphlets  for  these  years,  as  recorded  in  the  Bibliography. 

2  Fairholt,  pt.  i,  p.  131.    He  quotes  from  the  Daily  Gazetteer  of  30  October,  1741. 

3  On  the  former,  see  the  descriptive  pamphlet  (in  BM.,  Bodl.,  and  Gh.);  it  is  reprinted 
by  Heath  (3d  ed.,  p.  488).    Copies  of  the  1673  pamphlet  are  in  Gh.  and  B.;  it  is  reprinted 
by  Heath  (3d  ed.,  p.  507).    Cf.  Fairholt,  pt.  i,  pp.  74  f.,  79  f.;  J.  G.  Nichols,  pp.  no  and  in. 


THE  LORD  MAYOR'S  SHOW  53 

Company,  in  the  1673  pamphlet,  notes  the  fact  that  the  Grocers  have  "  under 
gone  "  the  display  of  triumphs  "  these  two  years  without  intermission,"  and 
that  it  is  their  "  fourth  time  of  performance  since  the  Happy  Restoration  of  His 
Sacred  Majesty  ...  In  such  splendid  actions,"  he  continues,  "  although  some 
Diminution  of  your  Treasure,  they  are,  and  will  be  plentifully  recompensed  in 
the  Addition  of  your  Fame  ..."  It  is  possible  that  Jordan  had  to  use  the  same 
"  silkworks  and  triumphs  "  he  had  used  before.  Both  shows  were  opened  by  a 
negro  boy,  who,  mounted  on  a  camel,  distributed  fruits  and  spices  to  the  crowd.1 
Effigies  of  the  supporters  of  the  Company's  arms  —  the  Gryphons  —  made  up 
the  second  pageant  in  both  shows;  behind  them,  on  a  golden  throne,  sat  Apollo 
in  1672,  and  the  "  god  of  Riches  "  with  "  the  much  ador'd  Madam  Pecunia,  (a 
Lady  of  Great  Splendor)  "  the  next  year.  In  both  shows,  the  third  pageant, 
near  St.  Laurence  lane-end,  was  a  "  wilderness,"  or  garden  of  fruits,  in  which 
were  "  drolls,"  -  "  tawny  Moors,"  -  who  gathered  fruits,  and  sang  and  danced 
the  while:  in  1672,  "  a  proper  Masculine  Woman,  with  a  tawny  face,"  repre 
sented  America,  on  a  "  steep  Rock  in  a  pyramidical  Figure  .  .  .  eminently  exalted 
above  the  tops  of  the  Trees,"  -  while  in  1673,  Pomona,  attended  by  the  Four 
Seasons,  occupied  the  "  eminent  promontory."  The  1672  pamphlet  mentions 
giants,  which  do  not  seem  to  have  appeared  in 


1674  —  RULES  AGAINST  SQUIBS;  THE  "  SPECTATOR"  ON  THIS 

YEAR'S  DINNER 

In  1674,  Jordan  wrote  the  show  for  the  Goldsmiths,  upon  the  inauguration 
of  Sir  Robert  Vyner.3  It  is  needless  here  to  outline  the  day's  triumph;  but  we 
may  remark  that  on  27  October,  1674,  the  Court  of  Aldermen,  taking  notice  of 
the  great  disorders  of  apprentices  and  other  boys  continually  committed  by  the 
throwing  of  squibs  and  other  fireworks,  which  terrified  and  endangered  all  sorts 
of  persons  in  their  passage  through  the  streets,  ordered  "  that  all  the  Marshalls 
men  &  Beadles  of  the  four  Hospitalls  of  this  City  doe  attend  the  Right  Honoble 


1  On  a  silver  throne,  under  a  canopy  of  silver,  sat  an  Indian  Emperor  in  1672:  the  next 
year  Pallas  occupied  the  "  sublime  seat  of  Soveraignty." 

2  On  15  October,  1672,  the  Court  of  Aldermen  ordered  "  that  the  Guildhall  &  parts  ad 
jacent  bee  prepared  for  the  Entertainment  on  the  Lord  Maiors  day  in  such  manner  as  hath 
been  accustomed,"  (Repertory  Ixxvii,  fol.  265  b)  and  on  23  September,  1673,  "Upon  a  motion 
made  unto  this  Court  by  the  Lord  Maior  Elect  whether  it  shall  be  thought  fitting  to  invite 
his  Majesty  to  dine  at  the  Guildhall  on  the  Lord  Maiors  Day  next,  and  if  it  shall  appeare  to 
be  the  sense  of  this  Court,  that  then  his  Maties  inclinations  may  be  understood  in  time,  and 
the  Citty  the  better  inabled  to  make  preparations  for  his  Entertainment,  It  is  by  this  Court 
recomended  to  his  Lordshipp  in  such  matter  as  hee  shall  thinke  fitting  to  understand  his 
Maiestyes  pleasure  therein."    Repertory  Ixxviii,  fol.  285  b. 

3  Copies  of  this  pamphlet  may  be  found  in  SA.,  Bodl.;    it  was  reprinted  in  1835,  and 
copies  of  this  reprint  are  in  Gh.  and  BM.    Cf.  also  Fairholt,  pt.  i,  p.  81  f.;  pt.  ii,  p.  vi;  J.  G. 
Nichols,  p.  in. 


54  ENGLISH  PAGEANTRY 

the  Lord  Major  this  afternoon  at  five  of  the  Clock  to  receive  his  Lo'pps.  Comands 
touching  some  course  to  be  taken  for  prevention  of  the  said  Mischiefs  &  Dis 
orders."  1 

In  the  Spectator  for  Wednesday,  20  August,  1712,  (no.  462)  is  printed  an  ac 
count  of  the  Lord  Mayor's  dinner  for  this  year,  1674.  Charles  II 

more  than  once  dined  with  his  good  citizens  of  London  on  their  lord-mayor's-day,  and  did 
so  the  year  that  Sir  Robert  Viner  was  mayor.  Sir  Robert  was  a  very  loyal  man,  and,  if  you 
will  allow  the  expression,  very  fond  of  his  sovereign;  but  what  with  the  joy  he  felt  at  heart 
for  the  honour  done  him  by  his  prince,  and  through  the  warmth  he  was  in  with  continual 
toasting  healths  to  the  royal  family,  his  lordship  grew  a  little  fond  of  his  majesty,  and  entered 
into  a  familiarity  not  altogether  so  graceful  in  so  public  a  place.  The  king  understood  very 
well  how  to  extricate  himself  on  all  kinds  of  difficulties,  and,  with  a  hint  to  the  company  to 
avoid  ceremony,  stole  off,  and  made  towards  his  coach,  which  stood  ready  for  him  in  Guildhall- 
yard.  But  the  mayor  liked  his  company  so  well,  and  was  grown  so  intimate,  that  he  pursued 
him  hastily,  and  catching  him  fast  by  the  hand,  cried  out  with  a  vehement  oath  and  accent 
"  Sir,  you  shall  stay  and  take  t'other  bottle."  The  airy  monarch  looked  kindly  at  him  over 
his  shoulder,  and  with  a  smile  and  graceful  air  (for  I  saw  him  at  the  time,  and  do  now)  re 
peated  this  line  of  the  old  song: 

"  He  that's  drunk  is  as  great  as  a  King," 
and  immediately  returned  back  and  complied  with  his  landlord. 

Under  date  of  3  June,  1675,  the  Court  of  Aldermen,  "  being  informed  that 
the  respective  proporcons  of  the  suines  of  money  payable  by  the  Lord  Maiors 
and  Sherriffes  towards  the  charge  of  the  entertainmts  on  the  Lord  Maiors  Day 
for  the  years  Last  past  are  not  yet  fully  made  upp  and  discharged  in  the  Ac- 
compts  of  the  Chamber,  doth  order  that  all  persons  concerned  doe  forthwith 
pay  into  the  Chamber  their  full  proporcons  of  the  said  moneys  with  all  con 
venient  speed."  2 

1675 — JORDAN  PLANS  A  SHOW  FOR  THE  DRAPERS 

Of  Jordan's  Show  for  1675,  in  honor  of  Sir  Joseph  Sheldon's  inauguration, 
several  descriptive  pamphlets  exist.3  This  was  written  for  the  Drapers'  Com- 

1  Repertory  Ixxix,  fol.  421.    The  king  having  accepted  the  Mayor's  invitation  to  dine  at 
Guildhall,  a  committee  was  appointed  "  for  the  providing  &  well-ordering  of  the  Entertain 
ment."    (20  October,  1674.)    Repertory  cited,  fol.  404  b. 

2  Repertory  Ixxx,  fol.  205. 

Under  date  of  26  October,  1676,  the  minutes  of  the  Court  of  Aldermen  record:  "  It  is  by 
this  Court  Referred  to  Sr  George  Waterman  Knt.  and  Alderman  and  other  the  Members  of 
this  Court  concerned  as  Lord  Majors  or  Sherriffes  in  the  charge  of  the  Entertainments  at 
Guildhall  or  (MS.  error  for  on)  the  Lord  Majors  day  in  the  yeare  1671  And  since  to  adjust 
and  settle  the  Accompts  thereof  with  Mr.  Chamblen  (Chamberlain)  and  forthwith  to  Pay 
all  such  sumes  of  money  as  they  are  severally  in  arrear  and  make  up  the  full  Complement  of 
the  sums  charged  upon  them  thereto  and  then  make  Report  thereof  to  this  Court."  Repertory 
Ixxxi,  fol.  337. 

3  Copies  may  be  found  in  Gh.,  Bodl.  (2  copies)  and  BM.  (3  copies  —  one  lacking  the  title- 
page).    For  mention  of  this  show  see  Fairholt,  pt.  i,  p.  84  f.;  J.  G.  Nichols,  p.  in. 


THE  LORD  MAYOR'S  SHOW  55 

pany,  and  included  a  representation  of  the  Golden  Fleece.  A  "  Scene  of  Drolls  " 
was  stationed  near  St.  Laurence  lane-end  —  a  forest,  or  desert,  properly  ac 
commodated  with  herbage,  trees,  bushes,  birds  and  flowers.  Sheep  grazed 
therein,  and  Cotswold  and  Salisbury  Plain  shepherds  played,  danced,  and  tum 
bled  in  "  excellent  confusion." 

FROM  THE  RECORDS  OF  THE  ALDERMEN 
On  17  October,  1676, 

it  was  now  agreed  by  this  Court  [of  Aldermen]  That  on  the  Lord  Majors  day  next  the  Right 
Honoble  the  Lord  Major  accompanied  with  my  Masters  the  Aldermen  do  in  their  Return 
from  Westminster  Take  Landing  at  Blackfryers  Staires,  and  go  from  thence  to  Fleet  Bridge 
by  the  End  of  the  New  Channell  which  is  apprehended  to  be  well  accomodate  for  that  pur 
pose  the  usuall  Landing  place  at  Pauls  Wharf  and  the  Passage  thence  being  now  Obstructed 
by  great  Quantities  of  Stone  laid  there  for  the  Convenience  of  St.  Paul's  Church.1 

The  Show  for  this  year  was  written  by  Jordan;  a  copy  of  the  descriptive  pam 
phlet  is  in  the  Guildhall  Library.2 

On  23  October,  1677,  the  Aldermen  ruled  that 

whereas  complaint  hath  been  made  unto  this  Court  that  Boards  and  Scaffolds  have  hereto 
fore  been  set  up  on  the  Lord  Majors  Day  by  the  Inhabitants  before  their  houses  in  the  streetes 
and  publicke  passages  of  this  City  through  which  the  Lord  Major  and  Aldermen  were  to 
passe,  whereby  the  Companies  standing  in  those  streetes  have  been  greatly  streitened  for 
want  of  roome;  It  is  now  therefore  ordered  and  strictly  injoyned  by  this  Court  that  noe 
Inhabitant  in  any  street  where  the  Lord  Major  and  Aldermen  are  to  passe,  and  especially  in 
Cheapside,  doe  hereafter  on  the  Lord  Majors  Day  permitte  any  Boardes  or  Scaffolds  to  be 
set  into  the  street  without  the  ffront  of  their  houses.  And  Mr.  Oliver  one  of  the  Surveyors 
is  desired  to  see  that  this  Order  be  duely  observed.  And  all  Constables  and  other  officers  are 
required  to  be  Assistant  to  him  therein.3 

Under  date  of  19  September,  1678,  we  find  in  the  aldermanic  records: 

Whereas  on  the  i6th  day  of  October  last  upon  the  petition  of  the  Master  and  Wardens  of 
the  Company  of  Stationers  and  a  suggestion  by  them  made  that  they  had  been  disturbed  in 
their  standing  on  the  Lord  Major's  Day  before  St.  Paul's  Schoole  being  the  Place  by  them 
anciently  used  for  that  purpose,  It  was  Ordered  by  this  Court  that  the  Members  of  the  said 
Company  should  injoy  their  station  before  the  said  Schoole  at  that  time  as  anciently,  now 
upon  a  Petition  presented  unto  this  Court  by  the  Master,  Wardens  and  Assistants  and  Livery 
of  the  Company  of  Turners  setting  forth  that  their  station  on  that  day  hath  anciently  been 
before  St.  Paul's  Schoole  under  the  Wall  of  the  said  School  until  they  were  disturbed  therein 


1  Repertory  Lxxxi,  fol.  319  b. 

2  For  an  outline  of  the  show,  see  Fairholt,  pt.  i,  p.  85  f.:   cf.  also  J.  G.  Nichols,  p.  112. 
We  may  note  that,  as  in  1612,  the  Seven  Liberal  Arts  (or  Sciences)  —  which  we  have  found 
in  "  royal-entries  "  (cf.,  e.g.,  vol.  i,  p.  145,  and  n.  2)  —  appeared  this  year. 

3  Repertory  Ixxxii,  fol.  289.    Descriptive  pamphlets  of  Jordan's  show  for  this  year  are  in 
Gh.,  Bodl.,  BM.,  (2  copies  —  one  imperfect).    Cf.  Fairholt,  pt.  i,  p.  87  f.;   J.  G.  Nichols, 
p.  112. 


56  ENGLISH  PAGEANTRY 

the  last  yeare  by  the  said  Company  of  Stationers  by  vertue  of  the  said  Order,  And  upon 
hearing  the  proofes  now  offered  to  that  matter  by  the  said  Company  of  Turners  and  what 
could  be  alleadged  against  the  same  by  the  said  Company  of  Stationers  who  were  here  present 
It  appearing  unto  this  Court  that  the  said  Company  of  Turners  had  their  Station  anciently 
in  the  said  place  and  that  the  said  Suggestion  made  by  the  said  Company  of  Stationers  upon 
which  the  said  Order  was  grounded  that  the  same  was  their  ancient  standing  was  untrue  It 
is  therefore  now  thought  fitt  and  Ordered  by  this  Court  That  the  said  Company  of  Turners 
doe  continue  their  Station  on  the  Lord  Major's  Day  hi  the  place  by  them  accustomed  before 
St  Pauls  Schoole  and  as  they  did  before  the  last  year,  And  that  the  said  Company  of  Sta 
tioners  do  likewise  content  themselves  with  their  ancient  standing  And  that  the  said  Com 
panies  do  not  interfere  or  disturb  each  other  in  their  said  respective  Stations.1 

On  the  10  October,  1678, 

upon  the  motion  of  the  right  Honoble  the  Lord  Major  Elect 2  That  the  Company  of  Stationers 
(who  are  at  present  destitute  of  a  sufficient  roome  for  the  station  of  their  whole  Company 
in  the  publick  passage  on  the  Lord  Majors  day)  might  be  accomodated  for  that  purpose  hi 
some  convenient  place  near  Ludgate,  It  is  Ordered  by  this  Court  that  Mr.  Oliver  do  find  out 
a  convenient  place  for  the  said  Company  to  stand  hi  upon  those  Occasions  and  make  report 
to  this  Court  on  Tuesday  next  to  the  end  the  same  may  be  granted  and  established  to  the 
said  Company  by  Authority  of  this  Court.3 

Five  days  later  the  court  ruled 

upon  a  motion  now  made  unto  this  Court  for  and  on  the  behalf  of  the  Company  of  Barber- 
surgeons  who  by  several  Orders  of  this  Court  have  been  constituted  and  setled  in  the  Ranke 
of  the  17th  Company  of  this  City,  It  is  Ordered  by  this  Court  that  Mr.  Oliver  do  hereafter 
on  the  Lord  Major's  Day  accordingly  dispose  and  ranke  the  said  Company  of  Barbersurgeons 
as  the  seaventeenth  in  Order  among  the  other  Companies  of  this  City.4 

These  extracts  from  the  manuscript  records  of  the  London  Aldermen  are 
of  particular  interest  for  us,  as  showing  the  solicitude  felt  by  the  Companies  in 
the  annual  civic  show.  Even  those  not  directly  concerned  were  anxious  to  take 
the  subordinate  part  of  onlookers;  for  the  Companies  which  lined  the  streets 
contributed  to  the  glory  of  the  triumphs. 

Jordan's  Show  for  1678  has  been  twice  reprinted,5  and  there  is  no  need  of  out 
lining  it  here.  As  in  1671,  there  was  an  interlude  performed  at  the  dinner,  in 
stilo  recitativo,  the  characters  in  which  were  Crab,  a  West-countryman,  Swab,  a 
seaman,  and  Self,  a  citizen.  The  scene  was  laid  at  the  Royal  Exchange:  the 
quarrels  of  the  characters  are  followed  by  union,  for  each  is  necessary  to  the 
others.  While  the  characters  are  individualized  to  a  certain  extent,  they  point 


1  Repertory  Ixxxiii,  fol.  295  el  seq. 

2  Sir  James  Edwards,  Grocer. 

3  The  same  Repertory,  fol.  309  b. 

4  The  same  Repertory,  fol.  311. 

5  Fairholt,  pt.  ii,  p.  141;  Heath  (3d  ed.)  p.  518.    Copies  of  the  original  pamphlet  may  be 
found  in  Gh.,  (badly  trimmed  about  the  edges);  HL.;  Bodl.  (2  copies);  BM.  (2  copies,  one 
imperfect).    Cf.  also  Fairholt,  pt.  i,  p.  90;  J.  G.  Nichols,  p.  112. 


THE  LORD  MAYOR'S  SHOW  57 

to  type  figures:  Crab —  the  Hoyden  of  1671  —  suggests  Rus;  Self —  in  1671, 
Freeman  —  makes  us  think  of  a  figure,  Civis.  The  lesson  —  that  city  and 
country  are  mutually  dependent  —  prevents  us  from  losing  sight  of  the  under 
lying  allegory.  The  "  technique  "  of  these  shows  is  not  unlike  that  of  modern 
comic  opera ;  song  is  combined  with  dialogue  and  dancing. 1 

1679  —  A  NEWSPAPER  ACCOUNT  OF  THE  MAYOR'S  INSTALLATION 

The  vivid  picture  of  a  London  crowd  which  Jordan  gives  in  his  pamphlet 
describing  the  1679  Show,  I  have  reprinted  in  "A  Civic  'Triumph,'  circa  i7oo."2 
It  may  be  compared  with  Ward's  description  of  London  crowds  two  decades 
later.3 

The  Domestick  Intelligence:  or  News  both  from  City  and  Country  Impartialy 
Related,  for  Friday,  31  October,  1679,  (no.  34)  gives  an  account  of  the  show. 

Wednesday  last,  the  Twenty  Ninth  of  this  Instant  October,  being  appointed  for  the  In 
stallment  of  the  Right  Honourable  Sir  Robett  Clayton  to  be  Lord  Maior  of  London,  to  which 
he  was  unanimously  Elected  on  Michaelmas  day  last  past:  His  Lordship  accordingly  went 
in  the  morning  to  Westminster  in  great  Triumph,  attended  upon  with  the  Barges  of  the  several 
Companies  of  the  City,  and  being  landed,  his  Lordship  accompanied  with  the  Aldermen  and 
Sheriffs  went  into  His  Majesties  Court  of  Exchequer  in  Westminster-Hall,  where  Mr.  Recorder 
was  pleased  in  a  Learned  and  Elegant  Speech,  to  discourse  of  the  Excellent  Qualifications 


1  Resembling  Jordan's  "  interludes  "  is  the  "  short  representation  performed  before  the 
Lord  General  Monk   at  Goldsmiths'-Hall,  Tuesday,  Aprill   nth.     By  three  persons,  An 
English-man,  a  Welsh-man,  and  a  Scotch-man."     (London,  1660.)     This  is  in  Guildhall 
(.4.  1.5) ;  dialogue  precedes  the  songs,  and  here  an  "  officer  "  represents  the  citizen  of  London. 

Various  speeches  addressed  to  General  Monk  on  his  visits  to  the  Companies  of  London 
may  be  found  in  the  Bodleian.  On  Wednesday,  28  March,  1660,  at  Drapers-Hall,  he  heard 
one  spoken  "by  one  Representing  the  Genius  of  England"  (Bodl.,  Wood  398.4);  Walter 
Yeokney  spoke,  and  perhaps  wrote,  the  speech  to  Monk  and  the  Council  of  State  at  Drapers- 
Hall  on  the  same  date  (Bodl.,  Wood  398.5};  W.  Bard  declaimed  verses  to  the  general  at 
Skinners-Hall,  4  April,  1660  —  beginning  in  the  Cornish  dialect,  the  speaker  soon  lapses 
into  English  (Bodl.,  Wood  398.6).  Jordan  wrote  the  speech  which  followed  a  song  in  four 
parts  when  Monk  was  entertained  at  the  Goldsmiths-Hall,  10  April,  1660  —  the  speech 
was  delivered  by  a  "  sea-captain,"  and  is  preserved  in  the  same  collection  (Wood  398.7) ; 
Jordan  also  wrote  that  spoken  before  Monk,  12  April,  1660,  at  Vintners-Hall  "  wherein  his 
illustrious  virtues  are  shadowed  forth  under  the  emblem  of  a  Vine."  (Wood  398.8) ;  the  same 
author  composed  that  spoken  by  Walter  "  Youkcny  "  ( =  Yeokney)  on  13  April,  1660,  at 
Fishermongers-Hall;  "after  a  song  of  difference  betwixt  the  Lawyer,  the  Soldier,  the  Citizen, 
and  the  Countrey-man  .  .  .  enter  the  Ghost  of  Massianello  Fisher-man  of  Naples."  (Bodl., 
Wood  398.9).  In  1659,  on  13  March,  Monk  was  entertained  at  the  Clothworkers-Hall, 
where  a  speech  —  preserved  in  the  same  collection  (Wood  398.3)  —  was  delivered. 

It  is  clear  that  these  pre-Restoration  "  interludes  "  of  1660,  some  of  which  were  written 
by  Jordan  himself,  are  the  forerunners  of  the  later  "  interludes  "  at  the  inauguration  ban 
quets. 

2  Journ.  Eng.  and  Germ.  PhiloL  for  January,  1918,  p.  127. 

3  Cf.  The  London  Spy,  cited  ibid.,  pp.  128  f. 


58  ENGLISH  PAGEANTRY 

both  of  Sir  James  Edwards  late  Lord  Maior,  and  also  of  the  present  Worthy  Magistrate  Sir 
Robert  Clayton,  who  was  now  come  to  be  sworn,  and  to  enter  upon  that  Honourable  Charge; 
Mr.  Recorder  was  also  pleased  to  add  that  he  was  satisfied,  and  that  it  was  without  all  Con 
tradiction,  that  the  present  Magistrates  and  Citizens  of  this  famous  City,  were  as  Loyal  to 
His  Majesty  and  the  Government,  as  ever  at  any  time  heretofore,  which  they  had  fully 
demonstrated  in  these  late  times  of  Trouble  and  Danger,  wherein  they  have  appeared  to  be 
very  Active  and  Careful  for  preserving  the  Peace  and  safety  of  the  City  against  all  Enemies 
whatsoever. 

After  which  the  Lord  Chief  Baron  was  pleased  very  excellently  to  discourse  of  this  Great 
Office,  and  among  many  other  worthy  expressions,  was  pleased  to  Intimate,  that  the  City 
ought  yet  to  be  carefull  of  the  Designs  of  the  Romish  Party,  whose  Jesuits  and  Priests  are  never 
Idle  in  Contriving  and  Promoting  the  Destruction  of  His  Majesties  Person  and  Government. 
After  his  Lordship  had  taken  the  usual  Oath,  his  Lordship  went  according  to  Custom  to  Visit 
the  several  Courts  of  Justice  in  Westminster  Hall;  and  then  his  Lordship  returned  back  in 
his  Barge,  and  landed  at  Black  Fryers  Stairs,  where  the  Artillery  Company,  belonging  to  the 
City,  (who  made  a  very  Noble  Appearance,  in  their  Buff-Coats  and  Red  Feathers,)  Attended; 
and  gave  three  Vollies  of  shot  upon  his  Lordship's  Landing,  and  then  went  to  Kingstreet  near 
Guildhall,  where  they  waited  till  his  Lordship  came  thither;  his  Lordship  proceeded  through 
St.  Paul's  Churchyard,  and  Cheapside,  and  was  entertained  with  several  Speeches  from  four 
Triumphant  Pageants,  which  were  provided  at  the  Charge  of  the  Drapers  Company,  (of 
which  his  Lordship  was  free)  and  represented  some  part  of  the  Drapers  Trade.  His  Lordship 
came  then  to  Guildhall,  where  a  Sumptuous  Dinner  was  prepared,  at  which  were  the  Lords  of 
His  Majesties  Privy  Councill,  the  Judges  in  their  Scarlet  Gowns,  and  several  others  of  the 
Nobility  and  Gentry. 

Such  is  a  newspaper  account  of  the  annual  occasion,  of  which  Jordan,  two 
years  before,1  said:  "  In  all  the  Authors  I  have  read,  and  all  the  most  curious- 
observing  Travellers  I  have  conversed  with,  I  have  been  answer'd,  that  in  no 
City  of  Europe  they  have  such  celebrious  Triumphs  at  the  Inauguration  and 
Instalment  of  their  Magistrates,  as  the  Lord  Mayor  of  London  ..." 

1680 — JORDAN'S  "LONDON'S  GLORY" 

A  precept  of  the  Mayor,  dated  6  September,  1680,  requires  the  Chamberlain, 
Common-serjeant,  Common-Clerk,  two  Judges  of  the  Sheriffs'  Courts,  four 
Common-Pleaders,  the  Comptroller  of  the  Chamber,  two  Secondaries,  the  Re 
membrancer,  Solicitor,  two  Bridge  Masters,  and  four  Attorneys  in  the  Outer 
Court,  to  perform  their  duty  in  walking  before  the  Lord  Mayor  and  Aldermen, 
"  Riding  annually  through  the  Streets  of  this  City,  on  the  usual  days  of  Solem 
nity,  such  as  are  Bartholomew  Even,  to  Proclaim  Bartholomew  Fair;  on  the  8th 
of  September,  to  Lady-Fair  in  Southwark;  on  Michaelmas-day,  and  the  day  after; 
on  Simon  and  Judes-day,  and  the  day  after;  and  three  days  in  Easter  to  the 
Spittle;  which  are  the  Solemn  days  now  used  (there  being  some  few  other  days 


1  Addressing  his  patrons,  the  Clothworkers,  in  1677.    (His  descriptive  pamphlet  for  this 
year's  show  is  recorded  in  the  Bibliography.) 


THE  LORD  MAYOR'S  SHOW  59 

wherein  the  like  service  was  heretofore  performed  in  Riding  to  St.  Pauls,  but 
the  same  is  at  present  discontinued  until  that  Church  be  rebuilt;)  .  .  ."  l 

On  19  October  of  this  year,  "  Itt  is  thought  fitt  &  Ordered  by  this  Court  that 
the  Masters  &  Wardens  of  the  severall  Companies  of  this  City  which  have  Barges 
&  have  usually  attended  the  Solemnity  on  the  Water  at  the  Lord  Majors-day  bee 
Warned  to  appeare  before  this  Court  on  this  day  senight."  !  London's  Glory  was 
the  title  of  Jordan's  show  for  this  year,  written  to  celebrate  the  inauguration  of 
Sir  Patience  Ward,  Merchant-Taylor.3 

THE  1681  SHOW  ALSO  BY  JORDAN 

Sir  John  Moore,  Grocer,  was  inaugurated  in  1681 ;  again  the  show  was  written 
by  Jordan.4  An  account  of  it  from  The  Impartial  Protestant  Mercury  5  is  of 
interest. 

London,  October  29.  This  day  being  the  Anniversary  Inauguration  of  the  Lord  Mayor 
of  this  Honourable  City,  the  Right  Honourable  Sir  John  Moor  repairing  with  the  usual  Splen 
dor  and  Solemnity  to  Westminster,  and  being  there  Sworn,  on  his  Return  landed  at  Black- 
Fryars,  and  so  proceeded  in  State  to  the  Guild-Hail.  Their  Majesties,  Attended  with  the 
Chief  Persons  of  Quality  of  the  Court,  were  pleased  to  honour  the  City  with  Their  Presence, 
and  appeared  highly  satisfied  with  Their  Magnificent  Entertainment:  The  Crowd  of  People 
in  the  Streets  was  extraordinary,  and  during  His  Majesties  whole  Passage  thither,  and  going 
back,  fill'd  the  Air  with  loud  Shouts  and  Acclamations  of  Joy,  and  well  Wishes  for  His  Ma 
jesties  long  Life  and  Prosperity.  So  false,  as  well  as  wicked  and  malicious,  are  the  Sugges 
tions  of  those  111  Men,  who  would  insinuate  as  if  the  Inhabitants  of  this  Great  and  Honourable 
City  were  wanting  in  their  Loyalty,  or  in  that  Obedience  and  Affection  which  is  due  to  their 
Sovereign. 

It  will  be  recalled  that  England  was  politically  excited  at  this  period;  we 
shall  consider,  in  the  next  chapter,  the  "  Pope-burnings  "  of  the  years  following 
1679  —  suffice  it  here  to  note  that,  as  Fairholt  expresses  it,  "  The  Lord  Mayor 
was  at  this  period  popular  only  with  his  own  party,  being  in  fact  a  mere  political 
tool  of  the  court.  The  infamous  Charles  .  .  .  having  among  other  acts  of  flagrant 
injustice  suspended  the  charter  of  the  city,  he  so  managed  that  none  but  the 
servile  creatures  of  his  will  should  there  have  sway."  6  Further  signs  of  this 
feeling  are  shown  in  the  insane  laudation  of  the  king  which  makes  the  songs  of 


1  See  no.  94  in  the  Taylor  Collection  of  broadsides  in  the  Guildhall  Library.    Cf.  Repertory 
Ixxxv,  fol.  219  b,  et  seq.  for  the  order,  made  in  the  Court  of  Aldermen  on  16  September,  1680, 
for  printing  the  above  precept. 

2  Repertory  Ixxxv,  fol.  237. 

3  Copies  of  the  pamphlet  are  in  Gh.,  HL.,  BM.,  and  BodL;  cf.  also  Hone,  p.  250  f.;  Fair- 
holt,  pt.  i,  p.  92  f. 

4  Copies  of  the  descriptive  pamphlet  are  in  Gh.,  BM.,  Bodl.    It  is  reprinted  by  Heath, 
(3d  ed.)  p.  536  f.;  cf.  J.  G.  Nichols,  p.  112  f.;  Fairholt,  pt.  i,  p.  95. 

5  No.  55  —  from  Friday,  October  28,  to  Tuesday,  November  i,  1681. 

6  Pt.  i,  p.  97  f. 


60  ENGLISH  PAGEANTRY 

the  1682  pamphlet  noteworthy,  and  in  the  cessation  of  pageantry  the  same  year, 
when  some  of  the  Companies  refused  to  march  in  the  procession. 

1682  —  No  PAGEANTS;    BUT  A  PROCESSION 

In  1682,  no  pageants  were  exhibited,  though  there  was  a  procession,  described 
in  a  pamphlet  entitled  The  Lord  Mayor's  Show.1  The  usual  marching  company, 
with  banners,  escorted  the  mayor  from  Guildhall  to  the  Three-Cranes  Wharf, 
where  the  water-procession  began;  Sir  William  Pritchard,  the  new  chief  magis 
trate,  was  saluted  on  his  way  to  and  from  Westminster;  on  his  return,  he  landed 
at  Blackfriars,  where  the  Artillery  Company  —  of  which  he  was  president  — 
gave  him  a  volley,  after  which  it  led  the  way  back  to  the  Guildhall. 

Various  songs  are  printed  in  the  pamphlet;  one  scorned  the  "  tricks  "  and 
"  plots  "  of  the  Whigs,  and  bade  them  farewell  as  they  went  out  of  office; 2  three 
"  Loyal  Songs  "  followed,  from  which  the  City  Music  were,  apparently,  to 
choose  one  for  rendering.3  Two  catches,  to  be  sung  by  the  "  loyal  Spectators," 
end  the  collection.  Hints  of  the  trouble  between  the  king  and  the  city  at  this 
time,  which  is  referred  to  by  Fairholt,  appear  in  the  following  account,  taken 
from  The  Domestick  Intelligence:* 

London,  Oct.  28.  Yesterday  the  Worthy  Sir  William  Pritchard,  Lord  Mayor  Elect,  ac 
companied  with  his  present  Lordship,  many  loyal  Aldermen,  and  Mr.  Recorder  went  to 
While-hall  to  wait  upon  His  Majesty,  by  whom  they  were  favourably  received,  His  Majesty 
expressing  His  good  liking,  and  high  satisfaction  in  the  Cities  prudent  Choice. 

Most  of  the  Companies  are  preparing  to  wait  upon  the  Right  Honourable  the  Lord  Mayor 
to  Westminster  in  their  Formalities,  in  order  to  [attend]  the  Swearing  the  Lord  Mayor  Elect; 
and  notwithstanding  some  are  not  a  little  solicitous  to  Eclipse  the  Triumph  of  the  day  (as  we 
are  informed,)  by  disswading  their  Brethren  of  the  Livery  from  being  present;  yet  such  is  the 
resolution  of  the  Loyal  and  worthy  Citizens,  that  nothing  will  be  wanting  that  may  conduce 
to  the  splendid  Introduction  of  so  worthy  a  Gentleman,  as  is  to  take  upon  him  that  great  and 
Honourable  Trust  for  the  year  insuing.5 

1  This  pamphlet,  which  is  mentioned  by  Fairholt,  pt.  i,  p.  97,  is  in  Bodl.,  (Gough  Lond. 
122.24.}    The  songs,  which  are  printed  after  the  account  of  the  procession,  were  probably 
sung  at  the  banquet  following  the  inauguration  of  Sir  William  Pritchard,  Merchant-Taylor. 
It  is  doubtful  if  these  be  the  work  of  Jordan;  though  I  have  inserted  this  title  with  Jordan's 
shows  in  the  Bibliography,  he  did  not  claim  it.    No  "  epistle  dedicatory  "  precedes  the  ac 
count  of  the  procession,  which  almost  anyone  might  have  written;   if  Jordan  composed  the 
songs,  there  is  no  sign  of  his  authorship  beside  their  commonplaceness. 

2  This  was  to  be  sung  "  to  the  Tune  of  Sawny." 

3  One  was  a  "  New  Song,  which  is  set  to  an  excellent  Tune  by  Mr.  Pur  sell" 

4  No.  150  —  "  from  Thursday,  October  the  26.  to  Munday  the  30.  1682." 

6  The  same  issue  of  this  periodical  describes  the  administration  of  the  oath  to  the  mayor 
at  Guildhall,  (before  the  city  authorities),  and  reports  that  in  the  afternoon  of  the  same 
day  the  king  was  invited  to  dinner  on  the  30*,  when  the  Mayor  should  go  to  Westminster. 
[Number  151  (from  30  October  to  2  November,  1682)  does  not  mention  the  ceremonies  of 
the  Lord  Mayor's  Day.  It  may  be  added  that  the  election  of  the  Lord  Mayor,  on  25  October, 
is  described,  ibid.,  no.  149  (23-26  October,  1682.)] 


THE  LORD  MAYOR'S  SHOW  61 

1683 — JORDAN'S  PAMPHLET,  "THE  TRIUMPHS  or  LONDON" 

Jordan  seems  to  have  planned  the  festivities  for  Sir  Henry  Tulse,  the  king's 
appointee  to  the  mayoralty  in  1683;  but  there  was  no  pageantry,  and  it  is  not 
clear  that  Jordan  did  anything  but  write  a  couple  of  songs  for  the  mayor's  ban 
quet.  The  Triumphs  of  London,  performed  on  Monday,  October  xxix.  1683,  for 
the  entertainment  of  the  Right  Honourable,  and  truly  Noble  Pattern  of  Prudence  and 
Loyalty,  Sir  Henry  Tulse,  Knight .  .  .  was  printed  at  London  in  1683; 1  from  this 
pamphlet  we  learn  that,  the  king  having  appointed  Sir  Henry  Tulse  to  the 
mayoralty,  Sir  William  Pritchard  "  issued  forth  his  Precepts  to  summon  the 
respective  Liveries  to  attend  His  Majesty's  new  Lord  Mayor  ...  on  Monday,  the 
29th  of  this  instant  October,  1683."  There  was  a  water-procession  to  and  from 
Westminster,  a  military  parade  of  the  Artillery  Company,  and  a  march  of  the 
Companies,  but  nothing  pageantic.2 

1684 — JORDAN'S  LAST  Civic  SHOW 

London's  Royal  Triumph  for  the  City's  Loyal  Magistrate  is  the  title  of  the  last 
civic  show  which  Jordan  wrote.3  It  is  outlined  by  Fairholt,  in  the  Gentleman's 
Magazine  for  April,  1854. 

There  is  nothing  in  the  foreword  of  this  pamphlet  to  suggest  that  there  had 
been  a  break  in  the  shows  for  two  years:  the  "  movements  of  the  morning  "  are 
described  in  couplets ;  the  Pleasure  Boat  saluted  the  mayor 4  with  two  broadsides ; 
and  everything  took  place  as  usual.  The  first  pageant  —  described  in  verse 

—  is  the  Chariot  of  Industry,  where  are  twelve  Virgins  representing  the  twelve 
Companies;    here  Metropolis,  "  a  majestic  masculine  woman  "  is  the  speaker. 

1  Copies  are  in  Bodl.  (Gough  Land.  122.25}  an(l m  Gh.  (A. 1.5).    In  pencil  on  the  title-page 
of  the  latter  copy  is  written,  "  by  Thomas  Jordan,  city  poet." 

A  picture  at  Windsor  Castle,  representing  Charles  II  and  his  consort  watching  the  Lord 
Mayor's  procession  by  water  in  1683,  has  been  reproduced  by  the  London  Topographical 
Society,  and  a  copy  of  the  reproduction  is  in  the  Guildhall  library.  (The  picture  shows  the 
City  Barge,  the  barges  of  various  Companies,  and  many  spectators;  it  was  reproduced  in 
1909,  with  permission  of  the  king.) 

2  Two  songs  —  entitled  A  New  Irish  Song  and  The  West-Countryman's  Song,  on  a  wedding 

—  are  printed,  with  the  music,  in  the  pamphlet.    The  Honourable  Artillery  Company  took 
part  in  many  of  the  Lord  Mayor's  Shows;  see  the  descriptive  pamphlets,  passim.    For  men 
tion  of  the  appearance  of  the  Company  in  these  triumphs,  see  Captain  G.  A.  Raikes,  The 
History  of  the  Honourable  Artillery  Company  [(2  vols.)  London,  1878]  i,  p.  161,  etc.    In  1779, 
there  was  considerable  friction  between  the  Mayor  and  "  the  military  glory  of  the  nation," 

—  cf.  ibid.,  ii,  pp.  65  f.,  424. 

3  Copies  of  the  descriptive  pamphlet  are  in  Gh.,  Bodl.,  and  BM.    Cf.  also  J.  G.  Nichols, 
p.  115;  Gillespy,  p.  64;   and  Fairholt's  letter  to  "  Mr.  Urban  "  (Gent.  Mag.  for  April,  1854, 
pp.  380  f.)  on  this  pageant,  which  he  discovered  (after  the  publication  of  L.  M.  Pag.},  in  the 
library  of  Sir  Harry  Verney,  Bart. 

4  Sir  James  Smith,  Draper. 


62  ENGLISH  PAGEANTRY 

The  Mercers  are  represented  by  Mercatura;  the  Grocers  by  Aromatoria;  the 
Drapers  by  Pannaria;  the  Fishmongers  by  Piscaria;  the  Goldsmiths  by  Au- 
rifera;  the  Skinners  by  Pelicula;  the  Merchant-Taylors  by  Vestiaria;  the 
Haberdashers  by  Minutaria;  the  Salters  by  Salina;  the  Ironmongers  by  Fer- 
raria;  the  "  Vintonners  "  by  Vinitioria,  and  the  Clothworkers  by  Lanaria  — 
each  character  showing  the  arms  and  motto  of  the  Company  she  represents. 
Two  "  Lyons  or  "  draw  the  chariot:  on  one,  rides  a  negro  from  India;  on  the 
other,  a  "  West-Indian  Cacick,  or  Lord."  Metropolis  explains  the  pageant. 

The  second  —  the  "  Fabrick  of  Fate  "  -  had  ten  living  figures  on  it,  repre 
senting  Good  Fortune,  Long  Life,  Strength,  Riches,  Beauty,  Honour,  Liberty, 
Pleasure,  Fancy,  and  Agility.  Here,  a  little  musical  dialogue  took  place  —  each 
contended  with  Fortune  as  to  which  quality  was  preeminent,  and  she  answered 
each  in  stilo  recitativo.  The  song  of  contention  ended  —  somewhat  abruptly,  per 
haps —  in  a  general  reconciliation;  each  character  agreed  that  Fortune  is  the 
most  necessary  quality.  She  then  addressed  the  mayor,  who  passed  afterwards 
to  the  next  stage,  where  sat  princely  shepherds  and  shepherdesses  in  a  grove  or 
grotto:  they  were  Mucedorus,  Pastora,  Mirtillo,  Jesemina,  Sylvio,  Dorinda, 
Tytero,  and  Corisca.  After  a  song  by  Mirtillo,  "  in  answer  to  his  Friend,  who 
had  been  labouring  with  Arguments  to  disuade  him  from  Love,  telling  him  that 
he  mispent  his  Time  in  that  unprofitable  Passion,"  1  Pastor  Fido  rose  and  saluted 
the  mayor,  after  which  Mucedorus  and  Pastora  sang  a  "  pastoral  dialogue."  2 

As  the  mayor  progressed,  he  came  to  the  fourth  pageant  —  "  Downs  of  De 
light  "  -  where  there  were  more  shepherds  and  shepherdesses  singing,  dancing, 
piping,  and  tumbling:  here  were  also  spinners,  carders,  and  other  trade-figures. 
Then  the  mayor  went  to  dinner,  where  a  "  Welcome  Home  "  to  the  king  and 
duke,  upon  their  return  from  Newmarket,  was  sung,  and  instrumental  music 
was  performed;  and  so  the  day's  festivities  came  to  an  end.  There  were  no 
evening  pageants. 

1685  —  TAUBMAN'S  FIRST  SHOW 

Matthew  Taubman  made  his  first  appearance  as  a  writer  of  civic  triumphs 
in  1585;  he  composed  the  shows  for  the  four  following  years,3  all  of  which  are 
recorded  in  the  Bibliography.  The  four  pageants  provided  for  the  inauguration 
of  Sir  Robert  Jeffreys,  Ironmonger,  in  1685,  cost  £175,  and  the  total  expense  for 
this  show  was  £473,  4<14 


1  It  is  not  clear  whether  or  not  a  debat  actually  took  place.  The  friend  may  have  argued 
in  dumb-show,  or  the  song  may  have  been  an  answer  to  a  possible  argument. 

z  In  this  two-part  song,  the  argument  is  very  slight.  There  are  six  stanzas  in  all  —  the 
last  being  a  "  chorus,"  sung  in  unison. 

3  Fairholt,  pt.  i,  p.  100  f.,  describes  his  work.    He  is,  says  Fairholt,  p.  101,  "  much  inferior 
to  Jordan,  being  altogether  a  dull  person  enough." 

4  See  Malcolm,  ii,  p.  48,  and  Fairholt,  pt.  i,  p.  174.    Copies  of  the  descriptive  pamphlet 
are  in  BM.  and  Bodl.    Cf.  Fairholt,  pt.  i,  p.  101. 


THE  LORD  MAYOR'S  SHOW  63 

The  first  pageant  contained  eight  females,  representing  Victory,  Triumph, 
Honour,  Peace,  Plenty,  Courage,  Vigilance,  and  Conduct.1  The  next  pageant, 
—  a  Sea-chariot  of  cerulean  green,  —  contained  Neptune,  drawn  by  Tritons; 
Amphitrite,  attended  by  Proteus,  Glaucus,  Thetis,  and  Galatea.  The  third  was 
the  Arch  of  Loyalty,  surmounted  by  Fame  who  was  attended  by  Loyalty,  Truth 
Union,  and  Concord;  a  sea-lion,  Tritons,  and  a  negro  suggested  the  "  first  com 
mercial  city  in  the  world."  Here  Loyalty  addressed  the  mayor. 

In  the  fourth  pageant  music  was  combined  with  a  trade  appropriateness,  in 
the  labor  of  Vulcan  and  his  attendants.2  Among  the  characters  on  this  pageant 
was  "  Polypheme.  A  Giant  of  large  size,  one  great  Eye  in  the  middle  of  his  Fore 
head  .  .  .  standing  at  the  entrance  of  the  Cave  with  a  Crow  of  Iron  in  his  hand  to 
break  the  Rocks  that  hinder  the  access  to  the  Mines,  and  a  Sword  in  the  other 
to  prevent  all  others,  but  the  Right  Worshipful  the  Company  of  Iron-Mongers 
(whose  peculiar  Prerogatives  it  is)  to  enter."  3  Apollo  and  Cupids,  Vulcan, 
Brontes,  Steropes,  and  Pyracmon  were  also  on  this  car;  Vulcan  addressed  the 
mayor.4 

Under  date  of  27  October,  1686,  Evelyn  writes,  "  There  was  a  triumphant 
shew  of  the  Lord  Maior  both  by  land  and  water,  with  much  solemnity,  when 
yet  his  power  has  ben  so  much  diminish'd,  by  the  losse  of  the  Citty's  former 
charter."  5  The  show  is  outlined  by  Fairholt.6  In  1687,  Sir  John  Shorter,  Gold 
smith,  was  inaugurated  as  Mayor,7  and  the  king  and  queen  attended  the  ban 
quet.8 


1  Triumph,  Honour,  Peace,  and  Plenty  are  the  attendants  of  the  other  four.    (Pamphlet, 
pp.  4  and  5.)    Malcolm  characterizes  Victory's  speech  as  "  twenty-two  vile  doggerel  lines." 

[Malcolm,  ii,  p.  47,  notes  that  "  William  and  Mary  honoured  this  spectacle  by  their 
presence,"  and  that  it  was  the  "  first  civic  celebration  after  their  ascending  the  throne." 
This  is  an  obvious  error.  James  and  his  consort  were  present  (Pamphlet,  p.  12).] 

2  The  mayor  was  Sir  Robert  Jeffreys,  Ironmonger. 

3  Pamphlet,  p.  10. 

4  Three  songs  —  the  last  to  the  king,  ("  With  a  Health  to  our  Royal  James")  —  were 
sung  during  the  banquet. 

5  Diary,  iii,  p.  29. 

6  Pt.  i,  p.  102.    Copies  of  the  descriptive  pamphlet  are  in  Bodl.,  BM.,  and  Gh. 

The  Mercers'  Virgin  —  mentioned  by  Celia  Fiennes  (see  below,  p.  67)  —  appeared  this 
year  in  glory.  One  is  inclined  to  suppose  that  her  chariot  was  new;  for  Taubman  says,  "  the 
Magnificence  of  the  Structure,  the  Elegancy  of  the  Contrivance,  and  Costliness  of  the  Work, 
has  hardly  ever  yet  been  parallel'd."  Allowing  for  the  exaggeration  common  to  these  descrip 
tive  pamphlets,  we  may  presume  that  the  author  would  not  have  made  such  an  emphatic 
statement  if  the  chariot  were  old.  The  procession  this  year  included  "  green-men." 

7  He  died  the  following  year.    In  Fairholt's  scrapbook  (vol.  ii)  is  a  MS.  note  from  the 
Ellis  Correspondence  (vol.  2,  p.  161)  giving,  under  date  of  6  September,  1688,  the  news  of 
Sir  John  Shorter's  death.    "  Few  days  before  died  Bunian,  his  Lordship's  teacher,  or  chaplain, 
a  man  said  to  be  gifted  that  way,  though  once  a  cobbler."   And  Fairholt  noted  below:   "  This 
was  John  Bunyan,  author  of  the  Pilgrim's  Progress." 

8  See  the  pamphlet  describing  this  year's  show,  copies  of  which  are  in  Gh.,  Bodl.,  BM.  On 


64  ENGLISH  PAGEANTRY 

1688  —  No  PAGEANTRY,  BUT  A  MAGNIFICENT  PROCESSION 
Taubman's  pamphlet  for  1688  l  has  no  "  epistle  dedicatory  "  addressed  to  a 
guild;  a  poetic  address  to  the  mayor  "  on  the  return  of  the  Charter  "  takes  its 
place.  The  Mercers,  another  foreword  tells  us,  bore  the  charge  of  the  entertain 
ment;  and  a  brief  history  of  the  Company  is  given.  "  Nevertheless  though  the 
Pageantry  was  omitted,  there  wanted  nothing  that  could  contribute  to  make  it 2 
Great  both  by  Land  and  Water;  nay,  rather  more  Sumptuous  in  the  Magnifi 
cence  of  their  Cavalcade,"  which  Taubman  describes.  "  To  supply  the  defect 
of  the  Pageants  "  the  Artillery  Company  took  part  in  the  procession.  Various 
banners  and  coats-of-arms  represented  St.  George,  King  Richard  II,  Sir  Thomas 
Gresham,  and  others;  "  at  the  time  of  Dinner,  the  Hall  Echoing  with  Huzza' s, 
and  Healths  to  His  Majesty,  who  returns  the  same  to  his  Lordship;  wishing  him 
Success  and  Happiness  .  .  .  "  3  after  which  came  a  song  in  praise  of  James,4  some 
what  hyperbolical,  perhaps,  but  hardly  "  abject  trash." 

In  1689,  Sir  Thomas  Pilkington  was  raised  from  "  Prison  to  the  Pretorial 
Chair,"  and  Taubman  likened  him  to  Daniel;  "this,"  says  the  poet  in  his 
Epistle  Dedicatory  to  the  mayor,  "  is  the  Happy  Day  of  Deliverance  from 
Pagan  and  Egyptian  Bondage,  by  Miracles  and  Wonders.  When  Idolatry,  like 
a  Deluge,  had  Over-spread  the  Land,  and  the  Church,  like  the  Ark,  lay  Totter 
ing  upon  the  Billows,  then  came  the  Dove  with  the  Olive  Branch  of  Joy  .  .  .  "  6 
King  William  and  Queen  Mary  dined  at  Guildhall  this  year. 

the  title-page  of  the  latter  copy  is  a  pencilled  "  excessively  rare,"  and  the  following  MS. 
note  regarding  Shorter:  "  He  had  a  new  Quarter  to  his  Arms  giuen  him  by  K.  lames  2d.  for 
receiuing  the  Pope's  Nunc  [io]  He  was  Grandfa[ther]  to  Catherine  first  wife  of  Sr  R  Walpole 
Earl  of  Orford."  For  mention  of  the  1687  Show,  see  Fairholt,  pt.  i,  p.  103;  J.  G.  Nichols, 
p.  116;  Hone,  p.  257.  It  included  "  green-men,"  and  the  Seven  Liberal  Arts. 

1  In  Bodl.  (2  copies).    Cf.  Hone,  p.  260;  Fairholt,  pt.  i,  p.  105;  J.  G.  Nichols,  p.  116. 

2  That  is,  the  show.  3  Pamphlet,  p.  n. 

4  The  lack  of  pageants  this  year  was,  no  doubt,  due  to  what  Taubman  in  his  dedication, 
calls  "  the  present  Impending  Storm,  the  Dread  of  a  Foreign  Invasion,"  which  "  has  Obnubi 
lated  the  usual  Splendor  of  this  Day's  Solemnity."    On  account  of  the  restoration  of  the 
charter,  he  calls  this  "  Auspicious  88!    England's  great  Year  of  Jubilee." 

Conder,  p.  235,  gives  some  of  the  Masons'  expenses  for  this  show.  The  items  include 
175.  6d.  for  whifflers,  but  no  mention  is  made  of  pageants. 

Fairholt,  pt.  i,  p.  107,  is  unkind  to  Taubman  who,  he  says,  showed  "  a  political  versatility 
that  would  have  done  honour  to  the  Vicar  of  Bray  himself,"  for  his  flattery,  (the  "abundant 
and  excessive  expressions  of  loyalty,")  to  James  gave  way,  in  1689,  to  "  equally  exuberant 
professions  of  loyalty  and  gratitude  for  the  revolution."  We  should  remember  that  these 
poets  were  hired,  and  had  to  write  to  please  their  employers  —  no  one  attacks  a  modern 
editorial  writer  for  changing  the  opinions  he  voices,  and  which  he  does  not  pretend  are  his 
own.  The  similarity  of  the  phrases  addressed  to  different  mayors  and  companies  shows  that 
much  of  the  phraseology  had  become  conventional. 

5  Copies  of  the  descriptive  pamphlet  are  in  Bodl.,  BM.,  and  Gh.    A  reprint  of  this  show 
was  made  in  1761  (see  Bibliography)  and  the  pamphlet  is  also  reprinted  in  Somers  Tracts 


THE  LORD  MAYOR'S  SHOW  65 

16891 — TAUBMAN  REJOICES  OVER  THE  REVOLUTION 

Taubman  hardly  merits  Fairholt's  abuse;  for  the  poet,  writing  for  a  patron 
who  had  opposed  James,  could  not  fail  to  praise  the  rule  which  had  released  him 
from  prison.  The  writing  of  the  city  triumphs  was  a  definite  business  proposition ; 
it  was  understood  that  the  poet  was  to  praise  the  mayor  and  company  who  em 
ployed  him.  Taubman  might  have  been  less  extravagant  in  his  language;  but 
no  one  can  accuse  him  of  being  a  turn-coat. 

ELKANAH  SETTLE —  "  LAST  OF  THE  CITY  POETS  " 

No  trace  of  festivities  in  1690  has  as  yet  been  found;  Sir  Thomas  Pilkington 
still  continued  in  office.1  In  1691,  Elkanah  Settle  wrote  his  first  show,  and  con 
tinued —  with  some  interruptions  —  to  produce  these  triumphs  until  lyoS.2  A 
full  list  of  these  shows,  as  far  as  they  are  known,  may  be  found  in  the  Bibliography; 
they  do  not  differ  from  those  of  his  predecessors,  but  contain  the  same  allegorical 
characters,  the  same  trade  symbolism,  the  same  gods  and  goddesses,  the  same 
personified  countries,  cities,  rivers.  This  is  not  surprising,  for  the  pageants  used 
in  the  civic  shows  were  kept  from  year  to  year,  each  guild  using  its  own  property 
when  it  became  necessary  to  inaugurate  one  of  its  members.3  While  the  names  of 

(1751)  3d  coll.,  iii,  p.  33;  (ibid.,  (1812)  xi,  p.  584);  cf.  Fairholt,  pt.  i,  p.  107;  J.  G.  Nichols, 
p.  u6f.;  Wadmore,  p.  148. 

Sir  Thomas  Pilkington  was  a  Skinner. 

Wadmore,  p.  57,  citing  the  Company's  records,  notes  under  16  October,  1689:  "  At  this 
Court  it  was  determined  that  Pageants  should  be  prepared  against  my  Lord  Mayors  day  and 
upon  a  2nd  question  being  put  it  was  ordered  that  there  should  be  four  Pageants  prepared  on 
this  occasion.  Mr.  Hayes  appeared  and  proposed  to  make  3  pageants  for  two  hundred  Pounds; 
he  was  offered  i8ol.  and  as  to  the  other  2ol.  to  stand  to  the  Judgm*  of  the  Renter  Warden  and 
he  promised  to  bring  a  Perticular  how  he  would  performe  the  same." 

1  Fairholt,  pt.  i,  p.  109;   cf.  D.  TV.  B.  li,  p.  274.    I  can  find,  in  the  London  Gazette  for 
October  and  November,  1690,  no  mention  of  the  Lord  Mayor's  Show  for  this  year. 

2  For  a  detailed  account  of  Settle's  life  and  work,  see  F.  C.  Brown,  Elkanah  Settle  (Chicago, 
1910). 

3  "  Salisbury  Plain  "  and  the  "  Arcadian  Plain  "  appear  often  as  such,  and  we  know  not 
how  often  under  other  names.    We  may  note  that  the  cut  of  the  "  Chariot  of  Justice  "  in  the 
1698  descriptive  pamphlet  is  reproduced  in  that  of  1708  —  and  neither  description  agrees 
exactly  with  the  picture;  the  1698  pamphlet  describes  it  as  "  a  triumphant  chariot  of  gold." 
—  The  picture  is  reproduced  by  F.  C.  Brown,  op.  tit.,  opp.  p.  124,  and  forms  the  frontispiece  of 
Fairholt's  Civic  Garland.    As  Gough  (Brit.  Topog.,  p.  342)  notes,  there  are  illustrations  of  the 
1692  and  1698  shows  in  the  Pepysian  Library  at  Cambridge  University.     Three  of   the 
pageants  of  1692,  with  the  Lord  Mayor's  Barge  and  a  "  wild-man,"  are  in  Pepys's  Collec 
tion  of  Prints  and  Drawings  relating  to  London  and  Westminster  (put  together  in  1700)  ii,  pp. 
277-279.    Other  pageants  are  illustrated,  ibid.,  pp.  282,  283. 

It  may  be  added  that  the  "  Chariot  of  Honour  "  of  1698,  painted  on  glass  by  William 
Peckett  in  1753,  is  preserved  in  a  window  in  the  old  Committee  Room  of  the  York  Guildhall. 
That  Peckett  should  have  chosen  this  subject  to  show  his  skill  as  an  artist,  indicates  that  the 
subject  was  a  popular  one. 


66  ENGLISH  PAGEANTRY 

the  characters  who  occupied  them  could  be  changed — as  the  "drolls"  ap 
peared  as  shepherds  for  the  Skinners,  or  as  planters  for  the  Grocers  —  there  is 
not  a  large  selection  to  choose  from. 

Unlike  the  "  royal-entries,"  the  Lord  Mayor's  Shows  occur  fairly  regularly 
once  every  twelve  months.  This  being  the  case,  traditions  grew  up,  which  must 
have  hampered  the  poets  considerably.  It  is  hard  to  find  anything  new,  when 
one  has  to  keep  within  a  limited  field.1  This  accounts,  in  large  measure,  for  the 
similarity  and  consequent  tediousness  of  this  form  of  art;  and  we  must  also 
bear  in  mind  that  an  uncritical  audience  was  easily  satisfied,  and  that  the  ephem 
eral  nature  of  the  production  did  not  serve  to  inspire  the  poet  to  put  forth  his 
best  endeavors.  So  we  must  not  be  too  hard  on  Settle,  whose  shows  probably 
served  their  purpose  well  enough. 

Until  1695  there  is  no  interruption  in  the  list  of  Settle's  shows,2  and  Brown 
says  there  were  no  shows  from  1695  to  i698.3  But  it  is  possible  that  there  were 
processions,  without  pageantry,  during  these  years,4  though  the  title  of  Settle's 
Show  for  1698  —  Glory's  Resurrection —  seems  to  indicate  that  there  were  none. 

A  DESCRIPTION  OF  A  LORD  MAYOR'S  SHOW  temp.  WILLIAM  AND  MARY 

A  vivid  contemporary  account  —  not  from  a  glowing  pamphlet  by  the  author 
of  the  show  himself —  of  a  civic  triumph  at  the  end  of  the  seventeenth  century, 
may  be  found  in  Celia  Fiennes's  diary.6 

...  ye  old  Lord  Major  Comes  to  meete  ye  new  one  and  with  him  on  his  Left  hand  is  Con 
ducted  on  horse  back  in  all  their  gouns  of  scarlet  Cloth  Lined  with  ffurr;  all  ye  aldermen  in 
Like  Robes  only  differenc'd  as  their  station,  those  of  them  wch  have  been  Lord  Majors  weare 

1  Cf .  the  Harvard  Class  Day  odes,  where  the  poet  is  not  only  restricted  to  a  certain  sub 
ject,  but  confined  to  a  certain  meter. 

2  In  1692,  William  and  Mary  dined  at  Guildhall.    Under  date  of  22  October,  "  it  is  agreed 
that  the  Lord  Maior  and  this  Court  doe  congratulate  theire  Majesties  upon  his  Maties  Re- 
turne  and  then  humbly  desire  theire  Maties  to  honour  this  City  with  theire  presence  at  dinner 
at  Guildhall  on  the  Lord  Maiors  day  next  ensueing  which  was  accordingly  done  And  theire 
Majesties  were  graciously  pleased  to  accept  of  the  said  Invitation,"  (Repertory  xcvi,  fol.  504.) 
Whereupon  a  Committee  was  appointed  to  prepare  all  things  requisite  for  their  entertain 
ment. 

3  F.  C.  Brown,  op.  cit.,  p.  124.  On  pp.  122  f.,  he  lists  Settle's  shows  with  some  comments. 
Conder,  p.  238,  notes  that  in  1695  the  Standard-bearers  and  whifHers  were  ordered  to  attend 
the  Masons  on  Lord  Mayor's  Day;  the  bill  of  fare  for  the  Masons'  dinner  is  given,  ibid. 

4  I  have  not,  however,  found  any  mention  of  them.     On  24  March,  1696,  it  was  agreed 
by  the  Court  of  Aldermen  that  "  the  Processions  and  Entertainments  on  Easter  Monday, 
Tuesday,  and  Wednesday  be  made  and  performed  with  the  same  solemnity  as  hath  beene 
accustomed,"   (Repertory  ci,  p.  170,)  but  this  throws  no  light  on  mayoralty  processions. 

5  Published  in  1888  under  the  title  Through  England  on  a  Side-Saddle  in  the  Time  of  William 
and  Mary.    I  am  indebted  to  Dr.  Milton  Percival  for  calling  my  attention  to  this  book;   the 
passage  I  quote  begins  on  p.  242.    With  it,  compare  that  by  Ned  Ward,  in  The  London  Spy, 
cited  in  my  paper  "A  Civic  '  Triumph '  circa  1700"  (Journ.  Eng.  and  Germ.  Philol.  for  Janu 
ary,  1918)  and  Jordan's  picture  of  the  crowd  in  1679  (above,  p.  57,  n.  2). 


THE  LORD  MAYOR'S  SHOW  67 

a  Gold  Chaine  Ever  after,  but  those  yt  have  not  passed  ye  Chaire  weare  none.  Ye  Lord 
Major  is  allwayes  one  of  ye  aldermen  and  he  has  a  great  gold  Chaine  round  his  neck,  the 
Sheriffs  also  weare  a  gold  Chaine  round  their  neck  yt  yeare.  Thus  on  horseback  they  proceed 
two  and  two  with  all  their  officers.  Ye  Lord  Major  has  his  Sword  bearer  wch  walkes  before 
him  with  the  Sword  in  an  Embroyder'd  Sheath  he  weares  a  Great  velvet  Cap  of  Crimson, 
the  bottom  and  ye  top  of  ffurr  or  such  Like  standing  up  Like  a  turbant  or  Great  bowle  in 
forme  of  a  Great  open  Pye,  this  is  Called  ye  Cap  of  Maintenance.  This  is  ye  Lord  Majors 
Chiefe  officer  .  .  .  He  thus  walkes  before  the  Lord  Major  with  ye  water  Bayliff  beareing  a 
Gold  Mace  &c.  At  Fleete  ditch  they  Enter  ye  Barges  wch  are  all  very  Curiously  adorned 
and  thus  he  is  Conducted  ye  river  being  full  of  Barges  belonging  to  ye  severall  Companyes  of 
London,  adorned  with  streamers  and  their  armes  and  fine  musick,  and  have  sack  to  drinke 
and  Little  Cakes  as  bigg  as  a  Crown  piece.  They  Come  to  Westminster  staires  where  they 
Land  and  are  Conducted,  the  Lord  Majors  traines  being  borne  up  as  well  ye  old  as  new  Lord 
Major,  they  Enter  Westminster  Hall  and  are  Conducted  to  ye  severall  Courts  of  justice  where 
there  is  severall  Ceremonyes  perform'd.  The  new  Lord  Major  is  presented  to  ye  King  or 
those  deputed  to  act  under  him  and  then  is  sworne,  all  which  being  over  they  are  Conducted 
back  to  their  Barges  and  soe  to  ye  staires  they  took  barge,  where  they  are  received  by  some  of 
ye  nobility  deputed  by  the  King  who  made  some  Little  speech  of  Compliment  and  Give  ye 
Lord  Major  and  aldermen  a  treate  of  wine  and  sweet  meates  passant.  They  mount  on  horse 
back  and  returne  only  ye  new  Lord  Major  takes  ye  right  hand  and  haveing  by  ye  sheriffs 
invited  ye  King  and  Court  to  dinner,  wch  sometymes  they  accept  but  mostly  refuse,  because 
it  puts  the  Citty  to  a  vast  Charge;  they  being  then  Conducted  through  ye  Citty  with  Create 
acclamations  their  own  habits  and  trappings  of  their  horses  being  very  fine,  and  they  haveing 
all  the  Severall  Companyes  of  ye  Citty  wch  walke  hi  their  order  and  gowns  with  pageants  to 
most  or  many  of  their  Companyes,  wch  are  a  sort  of  Stages  Covered  and  Carryed  by  men 
and  on  ye  top  many  men  and  boys  acting  ye  respective  trades  or  Employ*8  of  Each  Company, 
some  in  shipps  for  ye  Merchts,  and  whatever  Company  the  new  Lord  Major  is  off  his  pageant 
is  ye  finest  and  yt  Company  has  ye  precedency  that  yeare  of  all  ye  Companyes  Except  ye 
mercers  Company,  wch  allwayes  is  the  first  and  Esteemed  ye  Greatest,  and  when  there  is  a 
Lord  Major  of  yt  Company  their  pageant  is  a  maiden  queen  on  a  throne  Crowned  and  with 
Royal  Robes  and  scepter  and  most  richly  dressed,  with  Severall  Ladyes  dressed,  her  attend 
ants,  all  on  ye  same  pageant  and  wth  a  Cannopy  over  her  head  and  drawn  in  an  open  chariot 
with  9  horses  very  finely  accouter'd  and  pages  that  Ride  them  all,  with  plumes  of  feathers. 
After  being  drawn  through  ye  Citty  she  is  jnvited  by  ye  Lord  Major  to  a  dinner  provided  on 
purpose  for  her,  and  soe  many  Rich  Batchelors  are  appointed  to  Entertaine  her  that  is  a 
ranck  among  ye  freemen.  She  has  her  traine  bore  up  and  is  presented  to  Lady  Majoris  that 
salutes  her  as  doth  the  aldermens  Ladyes,  all  wch  are  Conducted  in  their  Coaches  to  Guild 
hall. 

The  writer  then  tells  of  the  banquet. 

A  NORWICH  MAYORALTY  PAGEANT  OF  THIS  REIGN 

The  same  lady  describes  a  mayoralty  pageant  at  Norwich,1  where 

there  is  a  great  many  Cerimonyes  in  ye  Choice  and  Swearing  their  Major:  they  Elect  him 
the  first  day  of  May  and  yn  prepare  for  his  being  sworne  on  Holly  Thursday.  They  new  washe 
and  plaister  their  houses  with  in  and  without  wch  they  strike  out  in  squares  like  free  stone. 
All  ye  streete  in  wch  this  mayor  Elect's  house,  is  very  exact  in  beautifying  themselves  (sic) 

1  Op.  cit.,  p.  122. 


68  ENGLISH  PAGEANTRY 

and  hanging  up  flaggs  ye  Coullrs  of  their  Companyes,  and  dress  up  pageants  and  there  are 
playes  and  all  sorts  of  show  that  day  —  in  Little  what  is  done  at  ye  Lord  major  of  London 
show.  Then  they  have  a  great  feast  with  fine  flaggs  and  scenes  hung  out,  musick  and  dance- 
ing.  I  was  in  ye  hall  they  keep  their  feast  in  and  saw  some  of  their  preparations:  for  that 
day  being  about  a  fortnight  to  it. 

After  1698,  Settle's  shows  appeared  regularly  until  1702;  between  this  year 
and  1708  there  were  no  triumphs.1 

A  CONTEMPORARY  RECORD  OF  THE  SHOW  FOR  1700 

The  rarity,  as  well  as  the  interest,  of  this  contemporary  account  of  the  Show 
for  1700  will  justify  my  quoting  it  at  length.  I  take  it  from  the  London  Post 
with  Intelligence  Foreign  and  Domestick,  from  Monday,  October  28  to  Wednesday, 
October  30, 1700  (no.  219): 2 

Yesterday  Sir  Thomas  Abney,  the  new  Lord  Mayor  was  sworn  in  Guild-hall,  upon  which 
the  Sword  and  Mace-bearers  kneeling,  delivered  the  Sword  and  Mace  to  the  Old  Lord  Mayor 
who  presented  the  same  to  the  New,  after  which  Sir  Richard  Levit  the  Old,  Treated  all  the 
Aldermen  above,  and  Sir  Thomas  Abney  the  New  Lord  Mayor,  Treated  all  those  under  the 
Chaire. 

And  this  day,  commonly  called  the  Lord  Mayors  day,  Sir  Thomas  Abney,  the  New  Lord 
Mayor  accompanied  with  some  of  the  Aldermen,  &c.  made  a  splendid  Cavalcade  from  Fish 
mongers-hall,  up  Grace-church-Street,  down  Cornhill  and  through  the  Poultry,  being  pre- 
ceeded  by  8  Men  in  Armour,  Cap  a  pee  on  Horseback,  the  first  of  which  carried,  upon  the 
top  of  a  Pole,  a  Head,  representing  that  of  the  Rebel  Tyler,  who  was  Stabb'd  to  the  Heart 
in  Smithfield  (by  Sir  William  Walworth,  then  Lord  Mayor,  and  free  of  the  Fishmongers  Com 
pany)  at  the  head  of  his  Rebellions  Crew:  the  second  represented  the  said  Sir  William  Wal 
worth,  and  held  a  Naked  Dagger  in  his  Hand,  the  other  6  followed  two  by  two.  When  his 
Lordship  came  over  against  Mercers  Chappel,  he  was  met  by  a  Pageant  representing  a  Ship, 
with  the  Cross-keys  upon  it,  and  some  Men  and  Boys  in  it,  drawing  of  a  Net,  in  which  came 
up  a  great  many  live  Fish,  which  they  flung  among  the  Livery-men.  This  Ship  carried  2 
Masts,  and  was  under  full  Sail,  but  dropt  Anchor  before  his  Lordship,  when  the  Master  made 
a  Speech  to  him;  after  which,  his  Lordship  proceeded  further  down  Queen-street  to  the  3 
Cranes,  where  being  joyned  by  Sir  Richard  Levit,  and  the  rest  of  the  Aldermen,  they  Im- 
barqued  on  board  their  Barges;  and  went  to  Westminster-Hall,  being  accompanied  by  the 
Barges  of  the  other  Companies,  one  boat  sailing  to  and  again,  round  the  New  Lord  Mayors 
Barge,  and  saluting  his  Lordship  from  time  to  time  with  2  or  3  Guns;  after  having  been  sworn 
before  the  Lord  Chief  Baron,  performed  all  the  other  usual  Ceremonies  at  the  Exchequer  Bar, 
they  returned  by  Water  to  Dorset  Stairs;  where,  after  having  Landed,  they  were  treated 
with  a  Noble  Cold  Banquet  in  the  open  Place,  by  the  said  Stairs,  by  the  Lord  Buckhurst 
Son  to  the  Earl  of  Dorset;  after  which,  the  Lord  Mayor,  and  Court  of  Aldermen,  mounted 
on  Horseback,  began  their  Cavalcade  through  the  City  towards  Guildhall,  several  of  the 
Companies  going  before  them  with  their  Streamers  displayed;  as  also  the  Artillery  Company 
well  Armed,  and  were  followed  by  some  other  of  the  Companies.  A  splendid  Entertainment 
was  prepared  in  Guildhall  for  his  Lordship.  &c.  and  for  those  of  his  Company.  The  other 
Companies  dined  at  their  respective  Halles.  Besides  the  above-mentioned  Pageant,  there 


1  F.  C.  Brown,  p.  36.  2  Brit.  Mus.,  newspaper  room,  Burney  123, 


c 
U 


pq 


THE  LORD  MAYOR'S  SHOW  69 

were  also  4  others,  viz,  one  representing  a  Mairman  and  Maremaid,1  very  curiously  done; 
one  representing  2  Dolphins,  with  2  Men  on  their  Backs;  one  a  Chariot  cover'd  with  Scallop- 
Shells;  and  one  a  Tower  or  Temple,  in  the  Pinacle  of  which  sat  a  beautiful  Woman  richly 
apparall'd,  who,  I  am  told,  also  made  a  Speech  to  his  Lordship. 

The  English  Post,  giving  "  an  Authentick  Account  of  the  Transactions  of  the 
World,  Foreign  and  Domestick,"  (no.  8  —  from  Monday,  October  28  to  Wednes 
day,  October  30,  1700,)  contains  a  paragraph  narrating  this  event,2  as  does  the 
Post-Boy  of  the  same  date,  the  final  ten  lines  of  which  account  Fairholt  prints. 

In  1 708,  Settle  prepared  a  show,  but  the  death  of  the  Prince  of  Denmark  pre 
vented  its  production.  Thus  the  spoken  pageants  came  to  an  end.3 

CONCERNING  THE  TERM  "  CITY  POET  " 

Settle  is  often  called  "  the  last  of  the  City  Poets,"  and  this  term  City  Poet  is 
commonly  applied,  by  Fairholt  and  other  writers  on  this  subject,  to  the  authors 
of  the  civic  shows  we  have  been  studying.  Concerning  this  office,  C.  W.  Wallace 4 
notes  that  Ben  Jonson  was  City-Poet;  he  says  there  was  such  a  position,  and 
refers  to  "documents  in  the  City  Record  Office,  Guildhall,  London."5  F.  C. 
Brown  remarks  that  "  the  city  poet  was  usually  chosen  to  prepare  the  pageants 
for  the  lord  mayor's  show,  and  whatever  money  he  received  was  given  by  the 
company  which  employed  him  ...  It  is  stated  by  several  biographers  [of  Settle] 
that  the  poet  received  a  yearly  pension  from  the  City,  and  by  one  writer  that 
this  amount  was  £6,  but  no  record  has  been  found  to  justify  such  an  opinion. 

1  See  Nichols's  edition  of  the  1616  Show,  p.  16,  and  Shaw's  Plate  xi. 

2  This,  and  the  Post-Boy  (quoted  by  Fairholt,  pt.  i,  p.  116)  are  in  the  same  volume  as  the 
London  Post. 

3  On  8  October,  1702,  the  Aldermen  unanimously  agreed  that  her  Majesty  and  the  Prince 
of  Denmark  be  invited  to  dine  at  the  Guildhall  on  the  Lord  Mayor's  Day  (Repertory  cvi,  p. 
518);    on  20  October,  it  was  ordered  that  the  streets  be  cleansed,  and  precautions  taken 
against  blocking  the  traffic  with  coaches  or  carts,  so  that  the  mayor's  procession  might  not 
be  obstructed  or  delayed,  (ibid.,  p.  525);   on  22  October,  the  Committee  of  Entertainment 
was  called  to  consider  whether  an  invitation  to  the  dinner  could  be  made  to  the  two  Houses 
of  Parliament,  (ibid.,  p.  543)  and  decided  there  wasn't  room  (ibid.,  pp.  548  f.). 

On  19  October,  1703,  "  This  Court  being  now  acquainted  that  Black  Friers  Staires  is  the 
fittest  Place  for  the  Right  Honoble  the  Lord  Major  to  land  in  his  Returne  from  Westminster 
the  next  Lord  Major's  day,  It  is  Ordered  That  his  Lordship  do  land  at  the  said  Staires  and 
from  thence  proceed  in  his  Cavalcade."  (Repertory  cvii,  pp.  574  f.)  This  does  not,  of  course, 
prove  that  there  were  pageants  this  year. 

On  17  October,  1704,  "  It  is  ordered  that  the  Precept  to  the  Companies  to  attend  the 
Right  Honoble  the  Lord  Maior  Elect  and  this  Court  in  their  Liveries  on  the  Lord  Maiors  Day 
as  also  the  Precept  for  keeping  of  a  double  Watch  and  Ward  at  the  same  time  be  sent  out  as 
usual."  (Repertory  cviii,  p.  629.) 

4  Evol.  Eng.  Drama,  pp.  18  f.,  referring  to  Overall,  Index  to  Remembrancia,  1570-1664 
(1888)  p.  305,  etc. 

5  Ibid.,  loc.  tit.,  n.  2. 


70  ENGLISH  PAGEANTRY 

The  records  of  the  City  of  London  contain  nothing  on  the  subject,  and  the 
chamberlain's  accounts  for  the  period  have  been  destroyed  by  fire.  There  is 
little  likelihood  that  the  Corporation  of  London  ever  paid  anything  to  the  city 
poet,  or  bore  any  part  of  the  expense  of  the  lord  mayors'  shows.  The  amounts 
which  the  poets  received  for  their  work  seem  to  have  varied  greatly.1  Much 
depended,  no  doubt,  on  how  well  the  company  was  pleased  with  the  pageants, 
and  on  the  financial  ability  and  generosity  of  the  new  lord  mayor  .  .  .  " 2  In 
1617,  Dekker,  Munday,  and  Middleton  apparently  competed,  the  two  former 
unsuccessfully,  for  the  civic  show;3  in  1621  and  1623,  Middleton  and  Munday 
collaborated.4  The  sums  paid  to  the  authors  indicate  that  they  had  to  furnish 
the  materials  for  their  shows;  and  the  arrangement  seems  to  have  been  made 
between  them  and  the  companies. 

That  the  poets  regarded  the  companies,  rather  than  the  city,  as  being  their 
employers  is  shown  by  the  Epistles  Dedicatory  prefixed  to  their  descriptive 
pamphlets.  I  need  call  attention  to  but  a  few;  in  1674,  Jordan  addressed  the 
Goldsmiths,  ("  when  by  your  own  Indulgence  more  than  my  Desert,  I  was 
preferr'd  to  the  Honour  of  this  Imployment  .  .  .  ")  and  in  1675,  the  Drapers, 
("Gentlemen — your  own  Urbanity  more  than  my  Desert  hath  exalted  my 
humble  Genius  to  the  Advancement  of  Designing  and  Describing  this  Days 
Triumph  .  .  .  ")  In  his  preface  to  the  Drapers  in  1676,  Jordan  calls  the  Com 
pany  "  my  Worshipful  Patrons,  by  whom  I  am  employed  and  gratified."  That 
the  "  city  poet  "  was  not  required  to  give  all  his  time  to  the  city  is  shown  by 
Jordan's  preface  to  the  Grocers  in  the  1672  pamphlet:  "...  if  the  nicety  of 
some  Mens  Enquiry  discover  any  thing  that  is  irregular  or  superfluous,  I  hope 
you  will  justly  impute  it  to  the  brevity  of  my  time,  my  person  being  imployed 
in  sundry  places,  as  well  as  my  Pen  upon  several  Subjects." 


1  Brown  gives  an  "  Extract  from  Quires  of  Warden's  Accounts  of  the  Grocers  Company, 
dated  July  1692  to  July  1693,"  which  shows  that  Settle  received  £2,  35.  6d.;  and  an  account 
of  the  Vintners'  Company  for  1703  shows  that  he  received  £11,  is.,6d.    See  Brown,  Settle, 
pp.  122,  n.  5,  and  125,  n.  4. 

2  Brown,  op.  cit.,  p.  28.    He  notes,  p.  29,  that  Settle  was  spoken  of  by  a  contemporary  as 
"  City  Poet "  in  1717  (Dennis,  Remarks  upon  Mr.  Pope's  Translation  of  Homer,  Preface); 
and  that,  as  it  was  never  recognized  by  the  Corporation  of  the  City  of  London,  the  office  was 
allowed  to  lapse  with  its  last  occupant  in  1724. 

Cyril  Davenport,  in  The  Connoisseur,  vi  (1903)  pp.  160-163,  210-12,  says  that  John  Taylor, 
"  the  water  poet,"  was  not  officially  appointed  city  poet,  of  whom  the  first  was  Tatham, 
who  superintended  the  processions  from  1657  to  1664.  He  records  the  succession  of  Jordan 
in  1671,  Taubman  in  1685,  and  Settle  in  1691 ;  but  he  gives  no  authorities  for  his  statements. 
The  names  Settle  and  City  Poet  do  not  appear  in  the  Repertories  between  1691  and  1708. 

3  See  above,  p.  37. 

4  Withington,  "The  Lord  Mayor's  Show  for  1623,"  in  Publ.  Mod.  Lang.  Assoc.  for  March, 
1915,  p.  112.    Heming  and  Dekker  collaborated  in  1612  (see  above,  p.  31). 


THE  LORD  MAYOR'S  SHOW  71 

THE  ELEMENTS  OF  THE  LORD  MAYOR'S  SHOWS  OF  THE  xvn  CENTURY 

Before  we  consider  the  development  of  this  civic  show  in  the  eighteenth  cen 
tury,  let  us  glance  at  the  various  elements  which  composed  it  in  the  period  from 
Peele  to  Settle.  Many  of  these  will  reappear  in  modern  pageantry;  this  con 
sideration,  then,  serves  not  only  to  review  the  past,  but  to  connect  it  with  the 
present. 

It  will  not  be  necessary  to  emphasize  the  elaborateness  which  the  physical 
pageant — the  car  —  has  reached;  suffice  it  to  remark  that  the  ship  and  the 
"  Paradise  "  of  early  days  had  developed  into  very  complicated  structures.  In 
1687,  a  ship  of  a  hundred  and  forty-five  feet  in  length,  with  twenty-two  guns, 
rigging,  anchors,  and  "  a  full  complement  of  men,"  was  shown  among  the  pag 
eants.1  The  trade-pageant  was  often  very  elaborate — a  good  example  is  the 
"  plantation  "  in  the  Grocers'  Show  of  i6y8.2  It  must  not  be  forgotten,  how 
ever,  that  the  author's  imagination  probably  ran  away  with  him  at  times,  and 
lifted  him  above  the  facts. 

SYMBOLISM 

Modern  pageantry  has  a  certain  amount  of  symbolism;  but  it  is  nothing 
compared  to  that  in  these  earlier  shows.  Naturally  enough,  in  the  guild  pro 
ductions,  the  emphasis  is  on  trade-symbolism.  Even  in  the  days  of  the  miracle- 
play,  the  bakers  distributed  their  bread;  the  miracle-plays  were  given  by  guilds 
whose  trade  was  appropriate  to  the  show;  many  of  the  pageants  in  the  early 
"  royal-entries  "  bore  the  marks  of  the  guilds  which  furnished  them;  as  far  back 
as  1298,  the  Fishmongers  held  a  procession  with  what  appear  to  have  been  mov 
ing  pageants 3  indicative  of  trade.  We  should,  then,  be  surprised  if  we  did  not 
find,  in  the  shows  of  the  seventeenth  century,  a  symbolical  representation  of  the 
guild  whose  brother  is  being  inducted  into  the  mayoralty. 

UNION  OF  MYTHOLOGY  AND  TRADE-SYMBOLISM 

A  few  examples  will  suffice  to  show  the  character  of  this  trade-symbolism. 
In  London's  Tempe*  the  fourth  pageant  is  called  the  Lemnian  Forge.  In  it, 
Vulcan  and  his  servants  work  at  an  anvil;  a  fire  is  seen  in  the  forge,  and  the  bel 
lows  —  with  other  fittings  of  a  blacksmith's  shop  —  are  in  evidence.  As  the 
smiths  work,  they  sing  in  praise  of  iron,  the  anvil  and  the  hammer,  by  the  con- 


1  Cf.  Fairholt,  pt.  i,  p.  104;  this  ship  was  named  The  Unity  of  London. 

2  The  Triumphs  of  London,  reprinted  by  Fairholt.    See  L.  M.  Pag.,  pt.  ii,  p.  164  f. 

3  The  fishes.    On  this,  see  above,  vol.  i,  p.  124. 

4  Dekker's  Show  for  1629,  reprinted  by  Fairholt.    The  mayor  of  this  year  was  a  member 
of  the  Ironmongers'  Company.     Cf.  above,  p.  29 f.,  where  the  same  pun,  made  for  Sir 
Thomas  Campbell  in  1609,  is  recorded. 


72  ENGLISH  PAGEANTRY 

cordant  sounds  of  which  Tubal  Cain  became  the  "  first  inventor  "  of  music. 
Cupid  and  Jove1  occupy  the  pageant  also;  and  there  is  a  dialogue  between 
Jove  and  Vulcan,  the  former  of  whom  upbraids  the  latter  for  making  his 
men  work  on  a  holiday!  He  ends  by  saying  that  it  is  high  time  to  get  rid 
of  Pride,  Ambition,  and  Avarice  —  and  that  Iron  is  the  only  thing  which 
can  do  this. 

Here  we  find  an  interesting  combination  of  mythology  and  trade;  but  this 
pageant  does  not  contain  all  the  symbolism  of  the  show.  The  second  "  presen 
tation  "  was  a  proud  swelling  sea,  on  whose  waves  is  borne  a  sea  lion,  "  in  regard 
it  is  one  of  the  supporters  of  the  East  Indian  Company,  of  which  his  Lordship  is 
free." 2  The  fifth  "  presentation  "  —  called  "  London's  Tempe,  or  the  Field  of 
Happiness,"  with  the  usual  pun  on  the  mayor's  name  ("  Le  Beu  Champe,"  — 
Champ  bel  —  Campbell)  —  had  on  the  top  of  all  a  lion's  head,  —  the  Lord 
Mayor's  crest.  In  Heywood's  Londini  Status  Pacatus 3  the  fourth  show  is  a 
chariot  drawn  by  two  camels;  "and  though  the  pelleted  Lyons  might  have 
serv'd  more  properly  to  this  place,  as  being  supporters  of  the  Armes  belonging 
to  the  Right  Worshipfull  Company  of  the  Drapers;  yet  these  are  as  genuine  to 
the  purpose :  to  show  his  Lordships  generall  negotiation  in  all  kinds  of  Merchan 
dise  whatsoever."  We  may  recall  the  ship  of  1602  —  "  proper  and  very  apt  for 
this  occasion  and  time,"  4  —  which  appeared  with  the  lion  and  camel,  crest  and 
supporters  of  the  Merchant-Taylors  arms.  It  is  possible  that  this  ship  was  later 
given  another  trade-signification,  being  made  applicable  to  the  Drapers  under 
the  name  of  the  Argo. 

The  first  pageant  of  Porta  Pietatis 5  was  presented  by  Proteus  in  a  beautiful 
sea-chariot  "  decored  with  divers  marine  nymphs,"  etc.  He  sat  on  a  tortoise,  — 
which  lives  both  on  water  and  on  land;  symbolizing  the  fact  that  the  mayor  was 
a  merchant,  trading  with  Turkey,  Italy,  and  France,  as  well  as  late  governor  of 
the  East  India  Company.  The  first  land  show  of  this  triumph  was  a  shepherd 
with  dog  and  hook;  about  him  his  flock,  —  some  feeding,  some  resting,  —  occu 
pied  a  platform  adorned  with  flowers.  The  third  show,  symbolizing  the  mer 
chants'  trade,  was  a  ship,  full-rigged. 

The  "  drolls,"  or  singers,  dancers,  and  tumblers,  who  occupied  a  stage  in 
many  of  the  seventeenth-century  Lord  Mayor's  Shows,  were  commonly  given 
a  trade-complexion,  being  dressed  as  planters  if  the  mayor  were  a  Grocer,  or  as 
shepherds  if  he  were  a  Draper,  or  as  Cyclopes  if  he  were  an  Ironmonger. 


1  Possibly  these  figures  were  attracted  by  Vulcan. 

2  Practically  every  show  contained  the  animals  which  were  crest  and  supporters  of  the 
arms  of  the  Company  who  footed  the  bills.    It  is  not  necessary  to  emphasize  this  point. 

3  Works  (1874)  v,  p.  368. 

4  Cf.  above,  p.  27. 

6  Heywood's  Show  for  1638;   reprinted  by  Fairholt.    The  mayor  was  a  member  of  the 
Drapers'  Company. 


THE  LORD  MAYOR'S  SHOW  73 

Further  examples  of  the  union  of  mythology  and  trade-symbolism  may  be 
indicated.  In  Middleton's  Triumphs  of  Love  and  Antiquity  1  we  find  "  a  wilder 
ness  most  gracefully  and  artfully  furnished  with  divers  kinds  of  beasts,  bearing 
fur  .  . .  the  presenter,  the  musical  Orpheus  ..."  who  delivers  a  flattering  speech.2 
Among  the  worthies  who  sat  in  the  "  Chariot  of  Honour,"  which  opened  Middle- 
ton's  Sun  in  Aries,3  were  Jason,  Hercules,  Alexander,  and  Caesar.  Jason,  "  most 
proper  by  his  manifestation,"  -the  Golden  Fleece,  —  addressed  the  mayor. 
In  1623,  Munday  introduced  the  Argo  into  Middleton's  show  for  Sir  Martin 
Lumley,  Draper;4  this  subject  has  been  popular  with  the  Drapers  since  the 
entry  of  Charles  V  in  1522;  the  original  reference  to  the  Toison  d'Or  was  quickly 
turned  into  trade-symbolism,  and  from  the  Midsummer  Show  it  crept  into  the 
civic  pageantry.5 

In  1702,  Bacchus  appeared  in  the  Vintners'  Show; 6  in  1692,  Neptune,  Thetis, 
Mercury,  and  Pallas  —  as  being  the  four  requisite  for  the  management  of  the 
Grocers'  traffic  "  through  all  parts  of  the  Universe  "  -  appeared  in  the  Temple 
of  the  latter.7  These  shows  are  full  of  mythology  to  which  a  trade-symbolism 
has  been  given,  and  it  is  useless  to  cite  more  examples. 

THE  COMPANIES  SYMBOLICALLY  REPRESENTED 

In  Dekker's  Troia  Nova  Triumphans 8  twelve  men,  representing  the  twelve 
"  superior  companies  "  —  each  carrying  a  shield  with  the  arms  of  one  of  the 
guilds  —  rode  as  guardians  of  Virtue  before  her  throne.  The  chariot  of  Indus 
try,  in  Jordan's  London's  Royal  Triumph  of  1684  "  contained  twelve  female 
characters,  allegorical  of  the  twelve  companies,  with  appropriate  names,  habits, 
and  shields."  In  1615,  the  principal  pageant  of  the  show  represents  London 
and  her  twelve  daughters  —  the  twelve  Companies.10  Symbolism  permeates 

1  His  Show  for  1619,  written  for  the  inauguration  of  Sir  William  Cockayn,  Skinner.    Re 
printed  by  Dyce,  Bullen,  and  in  Nichols,  Prog.  James. 

2  Orpheus  appeared  in  similar  surroundings  in  Jordan's  Show  for  1671,  —  cf.  above, 
p.  51.     The  earliest  instance  of  his  appearance  I  have  found  in  these  triumphs  is  in  1561, 
when,  with  Amphion,  Arion,  Jopas,  and  David,  he  welcomed  Sir  W.  Harper,  the  lord  mayor. 
One  might  imagine  that  the  presence  of  mythology  in  these  shows  was  originally  due  to  a 
pun  on  the  mayor's  name!    On  this  1561  Show,  see  above,  p.  18  and  n.  2. 

3  The  Show  for  1621,  for  Sir  Edward  Barkham,  Draper.    Reprinted  by  Dyce,  Bullen;  and 
Nichols  in  Prog.  James. 

4  See  my  article,  The  Lord  Mayor's  Show  for  1623,  already  cited.    Jason,  Medea,  and  the 
Argo  appeared  in  1615,  (cf.  article  cited,  p.  113,  n.  2.) 

5  Cf.  above,  vol.  i,  pp.  40  and  176.  6  Fairholt,  pt.  i,  p.  121. 

7  The  pamphlet  is  reprinted  by  Heath  (3d  ed.)  pp.  551  f. 

8  The  Show  for  1612;  see  above,  p.  32  . 

9  Fairholt,  pt.  i,  p.  100,  citing  Herbert.    These  are  described  in  the  pamphlet  for  this  year; 
see  above,  p.  61. 

10  Munday 's  Metropolis  Coronata,  the  Show  for  1615,  was  reprinted  by  Nichols  in  Prog. 
James,  iii,  pp.  107  f. 


74  ENGLISH  PAGEANTRY 

these  shows,  and  most  —  though  not  all  —  of  it  is  naturally  connected  with 
trade.  Even  that,  however,  is  softened  by  an  appropriate  mixture  of  classical 
mythology,  or  allegory. 

PERSONIFICATION: — CITIES,  CONTINENTS,  RIVERS;   TIME, 
THE  SEASONS,  AND  MONTHS 

In  Jordan's  London  in  Luster —  the  Show  for  1679 —  the  twelve  months  sur 
round  Time;  and  Opportunity  says:  "  The  twelve  months  which  these  persons 
represent  Contain  the  limits  of  your  government ; .  .  .  the  Shields  (on  which  their 
honour  much  relies)  Contain  the  Arms  of  the  Twelve  Companies.  .  .  .  Advance, 
true  Virtue,  punish  every  Crime,  Y'  have  but  a  year  to  rule,  This  is  the  Time."  1 
Janus's  speech  in  Heywood's  Londini  Status  Pacatus12  might  have  served  as  a 
model  for  it.  The  four  seasons  surround  Janus,  who  speaks: 

"  I,  Janus,  the  year's  father  in  my  prime  .  .  . 
Hither  my  servants,  the  four  seasons,  bring  .  .  . 
These  four  succeeding  seasons  I  resign 
Unto  your  charge;  (which  I  before  called  mine) 
To  the  twelve  months,  most  aptly  may  comply 
Your  twelve  chief  companies  .  .  ."  3 

In  1677,  Jordan  introduced  "  the  Temple  of  Time,"  on  which  was  Time  himself, 
attended  by  the  Four  Quarters  of  the  year,  —  Winter,  Spring,  Summer,  and 
Autumn.  Round  about  him  sat  six  persons  —  a  Minute,  an  Hour,  a  Day,  a 
Week,  a  Month,  and  a  Year.4  It  will  be  recalled  that  Time  appeared  in  some  of 
the  "  royal-entries  "  -  notably  in  the  first  progress  of  Queen  Elizabeth  through 
London.5 

The  personification  of  cities  —  including  such  figures  as  the  Genius  of  the 
City —  was  not  unknown  in  Elizabethan  pageantry;  at  Norwich,  in  1578,  "  the 
Commonwealth  of  the  Citie  "  and  Norwich  herself,  appeared.6  London  ap 
peared  in  Peek's  Show  for  1585; 7  in  1613,  a  "  reverend  Mother  "  represented 
the  city  in  Middleton's  Triumphs  of  Truth*  Londons  lus  Honorarium,  Hey 
wood's  Show  for  1 63 1,9  included  "  the  prime  Lady  seated  in  the  first  and  most 
eminent  place  of  the  Chariot,  [who]  representeth  London,  behind  whom,  and  on 
either  side,  diverse  others  of  the  chief e  Cities  of  the  Kingdome  take  place:  As 

1  See  the  descriptive  pamphlet,  p.  5 ;  Fairholt,  pt.  i,  p.  90  f . 

2  The  Show  for  1639;  reprinted  in  his  Works  (1874)  v,  p.  355  f.          3  Op.  cit.,  p.  365. 

4  London's  Triumphs  for  1677  has  not  been  reprinted;  but  these  characters  are  described 
by  Fairholt,  pt.  i,  p.  88. 

We  shall  discuss  Miss  Rossetti's  Pageant  of  the  Months  in  a  later  chapter. 

5  See  above,  vol.  i,  pp.  201,  and  202. 

6  See  above,  vol.  i,  p.  211.    Elsewhere  the  relation  of  these  figures  to  the  "mythical 
founder  "  is  suggested;  see  vol.  i,  p.  81  f. 

7  See  above,  p.  24.  9  Works  (1874)  iv,  pp.  274  f. 

8  Reprinted  by  Dyce,  Bullen,  Heath,  and  Nichols  in  Prog.  James,  ii,  pp.  679  f. 


THE  LORD  MAYOR'S  SHOW  75 

Westminster,  Yorke,  Bristoll,  Oxford,  Lincolne,  Exeter,  &c.  All  these  are  to  be 
distinguished  by  their  several  escutcheons;  to  them  London  being  speaker, 
directeth  the  first  part  of  her  speech."  Chester  was  personified  in  a  "  royal- 
entry  "  of  I6IO;1  Britannia  and  Genius  Urbis  greeted  James  in  1604; 2  the 
"  genious  of  the  citie  "  welcomed  Christian  IV  on  his  way  through  London.3 
London  or  the  Genius  of  the  City,  sometimes  under  the  name  Augusta,  appeared 
in  the  shows  of  1628;  1639;  1662;  1689;  1694;  1700;  1616,  and  in  Civitatis 
Amor  (1616),  when  Charles  was  made  Prince  of  Wales.  In  1678,  six  Indian 
cities  were  "  represented."  4 

Countries  and  Rivers  appeared  often  in  these  civic  shows ;  the  four  Quarters 
of  the  World  were  also  common.  In  1622,  came  "  The  Continent  of  India  .  .  . 
replenished  with  all  manner  of  spice-plants  and  trees  bearing  odour  "  on  which 
a  black  person,  representing  India,  called  the  Queen  of  Merchandise,  was  at 
tended  by  Indians  in  antique  habits.  "  Commerce,  Adventure,  and  Traffic, 
three  habited  like  merchants,"  follow  the  black  queen's  speech.5  In  1605, 
Britannia,  Leogria,  Cambria,  and  Albania  appeared;  in  1691,  Albion,  Germania, 
Hispania,  and  Batavia.  In  1671,  Africa  was  represented  by  a  "  female  negra;  " 
Asia  and  Africa  appeared  in  1658;  all  four  continents  in  i694.6 

A  few  examples  of  personified  rivers  may  be  given:  the  Thames,  naturally, 
appears  often,  —  we  find  him  in  1585;  in  1605,  with  the  Severn  and  Humber; 
with  the  Tiber  and  Indus  in  1694;  and  Neptune,  with  the  Thames,  Danube, 
Rhine,  and  Tiber  occupied  the  second  pageant  of  the  1701  show.  The  Boyne, 
Shannon,  Rhine,  and  Danube,  "  signifying  the  present  seats  or  scenes  of  war, 
of  which  the  entire  pageant  is  an  emblem,"  appeared  in  1691. 7 

Closely  allied  to  such  figures  as  India,  London,  and  Africa,  are  the  negroes, 
Indians,  sea-captains,  and  sailors  8  who  recall  the  mayor's  trading  interests,  and 
the  lands  with  which  he  deals. 


1  See  above,  vol.  i,  p.  230.   The  same  year,  Cornwall  and  Wales  were  personified  at  London, 
to  welcome  Prince  Henry  (vol.  i,  p.  231). 

2  See  above,  vol.  i,  p.  223. 

3  See  above,  vol.  i,  p.  228,  n.  i.    These  last  three  instances  of  personification  are  not,  it 
is  true,  taken  from  the  civic  shows;   but  they  serve  to  indicate  another  thread  which  binds 
these  triumphs  to  the  "  royal-entry,"  which  they  displaced. 

4  Fairholt,  pt.  ii,  p.  162.    There  is  no  need  of  citing  more  instances. 

6  Middleton's  Show  for  1622  is  reprinted  by  J.  L.  Pearson  in  Shaks.  Soc.  Papers  (1845) 
i,  p.  93;  also  by  Bullen. 

6  It  is  not  necessary  to  give  more  examples  of  these  personifications.    As  we  shall  see, 
later,  Britannia  and  France  appeared  in  1905;  Egypt,  Greece,  Rome,  and  Britain  in  1904; 
India  in  1884,  Australia  in  1890,  etc.    Britain  and  the  Colonies  were  personified  in  Britannia's 
Muster  of  1910  (see  below,  p.  188). 

7  We  shall  find  the  Thames,  Sabrina,  Avona,  and  the  Chelt,  in  the  Gloucestershire  Pageant 
of  1908.    The  New  River  was  symbolized  by  a  giant  in  the  Lord  Mayor's  Show  of  1913. 

8  Cf.  on  these  last,  the  ship's  master,  mate,  and  boy  of  the  1605  Show;   they  are  linked 
to  symbolism  by  their  ship,  the  Royal  Exchange.    Cf.  the  soldier  and  the  sailor  with  such 


76  ENGLISH  PAGEANTRY 

A  European,  an  Egyptian,  and  a  Persian  appeared  in  the  1659  Show; x  in 
1617  a  Frenchman —  in  a  French  speech,  followed  by  its  translation —  wished 
"  le  comble  de  toutes  nobles  et  heureuses  fortunes  "  to  "  Monseigneur  le  Maire  " 
and  "la  tres  honorable  societe*  des  Grociers."  He  was  followed  by  a  Spaniard, 
who  gave  his  good  wishes  also  in  his  native  tongue ;  their  joy  was  echoed  by  the 
silent  joy  of  an  Englishman,  an  Irishman,  a  Turk,  a  Jew,  a  Dane,  a  Pole,  a  Bar 
barian,  and  a  Russian  or  "  Muscovian."  2  Representing  a  country  by  a  figure 
portraying  an  inhabitant  of  that  country,  is  much  the  same  thing  as  personifi 
cation;  but  the  personification  is  not,  perhaps,  so  closely  allied  to  symbolism 
or  allegory. 

TYPES  STANDING  BETWEEN  ALLEGORY  AND  THE  INDIVIDUAL 

Such  figures  as  Hoyden  and  Freeman  and  Oliver  in  the  Jordanian  "  inter 
lude  "  may  have  suggested  the  allegorical  figures  of  Rus  and  Urbs;  but  they 
are  really  men  from  the  life  of  the  times,  and  only  as  types  tend  to  be  symbolic. 
Like  the  Frenchman  and  Spaniard  of  1617,  and  the  foreigners  in  James's  coro 
nation  triumph,3  who  tended  to  symbolize  the  nations  they  represented,  rather 
than  to  stand  out  as  individuals,  Billet  and  Swab  are  types,  as  are  the  negroes 
and  Indians,  who  are  not  far  from  Africa  and  India.  Perhaps  the  six  Cities  of 
1631  are  on  the  line  between  symbolical  representatives  and  representative  types.4 
The  technique  of  this  older  kind  of  pageantry  prevents  any  character  from  being 
individualized —  all  must,  of  necessity,  be  colorless;  hence,  even  those  which  tend 
to  become  individual  are  driven  back  into  symbolism. 

It  is  true  that  Hoyden  and  Freeman  are  not  —  strictly  speaking  —  characters 
in  the  Lord  Mayor's  Show.  The  "  interludes  "  were  presented  during  the  ban 
quet,  and  the  characters  could  have  been  individualized.  That  they  are  not,  is 
partly  due  to  the  songs  —  and  singing,  as  in  the  opera  today,  militates  against 
"  convincingness  of  characterization  "  -  and  partly  to  the  fact  that  the  "  moral 
ity  "  flavor  of  the  shows  penetrated  to  these  interludes,  all  of  which  teach  the 
mutual  dependence  of  town  and  country,  and  the  need  both  have  for  the  soldier. 
It  is  largely  this  didactic  quality  which  keeps  the  characters  in  the  interlude 
"  typical." 


figures  as  the  Country,  Thames,  Loyalty,  and  Science  in  Peek's  Show  for  1585.  They  are 
at  most  types  —  and  really  abstractions.  Hoyden  and  Freeman  —  in  the  Jordanian  "  in 
terlude  "  —  are  types  almost  individualized. 

1  Reprinted  in  Heath  (3d  ed.)  pp.  466  f. 

2  Middleton's  Show  for  this  year  is  reprinted  by  Dyce,  Heath,  and  Bullen. 

3  See  above,  vol.  i,  p.  224. 

4  Always  assuming,  of  course,  that  they  are  not  delegates  from  the  cities  named.   See  above, 
P- 75- 


THE  LORD  MAYOR'S  SHOW  77 

ALLEGORY 

Openly  symbolic,  of  course,  are  the  allegorical  characters  which  permeate 
these  shows.  Ever  since  Nature,  Grace,  and  Fortune  gave  Henry  VI  "  gostly 
giftes  "  at  his  coronation  in  I432,1  allegory  has  been  an  important  part  of  this 
form  of  literary  expression.  We  have  seen  that  it  was  plentiful  in  the  days  be 
fore  the  Lord  Mayor's  Shows;  and  in  them  it  is  abundant.  The  strong  morality- 
play  flavor  which  these  shows  have,  is  entirely  due  to  their  allegorical  seasoning. 
It  is  not  worth  while  to  cite  many  examples  of  this  ingredient,  for  it  is  all-pervad 
ing.2  Peele's  earliest  show  gave  us  Magnanimity,  Loyalty,  and  Science;  in 
1591  we  find  Nature,  Hope,  Faith,  and  Honour,  while  Superstition  and  Ignorance 
are  represented  by  two  of  the  Roman  Church.  In  Dekker's  Show  for  1612,  the 
second  "  land-triumph  "  was  the  Throne  of  Virtue,  on  the  top  of  which  sat  Vir 
tue  herself,  and  beneath  her  the  Seven  Liberal  Sciences.3  In  162 2, 4  in  Soper 
Lane  "  two  parts  of  the  triumph  stand  ready  planted;  viz.  the  Throne  of  Vir 
tue  and  the  Globe  of  Honour,  which  Globe  suddenly  opening  and  flying  into 
eight  cants  5  or  distinct  parts,  discovers  in  a  twinkling  eight  bright  personages, 
most  gloriously  decked,  representing,  (as  it  were,)  the  inward  man  .  .  .  Clear 
Conscience,  Divine  Speculation,  Peace  of  Heart,  Integrity,  Watchfulness,  Equal 
ity,  Providence,6  Impartiality,  each  exprest  by  its  own  proper  illustration." 

In  Tatham's  Show  for  1660,  The  Royal  Oak,7  the  Lord  Mayor  is  entertained 
at  the  end  of  Cheapside  by  a  "  sceane  "  which  is  a  chariot  drawn  by  a  lion  and 
a  lamb;  it  is  driven  by  Time,  and  contains  Peace,  Truth,  and  Plenty.  The 
driver  of  the  chariot  addresses  the  mayor,  showing  that  in  time  all  come  into 
their  own,  that  treachery  is  discovered,  and  Treason  cannot  last.8  From  the 


1  See  above,  vol.  i,  p.  144. 

2  Occasionally  the  morality  element  is  attached  to  mythology,  as  in  Heywood's  Londons 
lus  Honorarium  (Works  [1874]  iv,  p.  271  f.)  where  Ulysses,  who  personates  a  wise  and  discreet 
magistrate,  delivers  the  speech  upon  the  water.    As  the  Mayor's  barge  goes  between  two 
rocks,  representing  Scylla  and  Charybdis,  —  on  which  are  placed  the  Sirens,  —  Ulysses  warns 
the  mayor  to  keep  the  "  even  Channell  and  be  neither  swayde  to  the  right  hand  nor  left,  and 
so  evade  Malicious  envie  .  .  .  smooth  visadgd  flattery,  and  black  mouthd  detraction,  sedition 
...  all  ambushing  the  god-like  Magistrate." 

3  We  have  seen  them  in  "  royal-entries  "  as  early  as  1432  (see  above,  vol.  i,  p.  145)  and 
in  1547  (see  above,  vol.  i,  p.  186,);  and  shall  find  them  at  Oxford  in  1907,  at  Boston  in  1908, 
(see  below,  pp.  223  and  283).    They  appeared  in  the  1612  Show  (see  above,  p.  32);   they 
surrounded  Janus  in  the  fourth  pageant  of  the  1687  Show,  and  Minerva  in  the  first  pageant 
of  that  of  1676.    [Neither  of  these  has  been  reprinted;  but  mention  of  the  Sciences  is  made  by 
Fairholt,  pt.  i,  pp.  85  and  104.] 

4  Middleton's  Triumphs  of  Honour  and  Virtue,  reprinted  by  Bullen,  vii,  p.  365. 

5  Pieces  (Bullen). 

6  Meaning,  of  course,  foresight. 

7  Reprinted  by  Fairholt,  pt.  ii,  pp.  87  f . 

8  Fairholt,  pt.  ii,  pp.  103  f. 


y8  ENGLISH  PAGEANTRY 

next  scene,  the  mayor  is  greeted  by  another  Peace,1  who  —  having  with  Truth 
been  exiled  —  has  now  returned  to  flourish.  Justice,  Power,  and  Obedience 
were  included  in  the  show  which  Settle  had  planned  for  lyoS.2  These  random 
selections  from  the  earliest  and  latest  of  the  Lord  Mayor's  Shows  are  enough 
so  indicate  how  wide-spread  the  allegory  is.  With  it  we  have  the  didactic  char 
acter  of  the  morality-play  —  a  quality  which  is  much  weakened  when  speech 
disappears  from  the  triumphs. 

ALLEGORY  AND  HISTORY 

Almost  as  pervasive  as  the  allegory  and  mythology  in  these  shows  is  the  his 
tory  —  though  this  is  usually  confined  to  the  past  of  the  Company  giving  the 
show.  Again,  it  will  not  be  necessary  to  cite  more  than  a  few  examples  of  this 
element,  which  is  often  linked  to  allegory,  as  in  Middleton's  Show  for  1623,  The 
Triumphs  of  Integrity.  At  the  Little  Conduit  in  Cheap  stood  a  chariot  "  artfully 
framed  and  properly  garnished  .  .  .  and  on  the  conspicuous  part  thereof  is  placed 
the  register  of  all  heroic  acts  and  worthy  men  bearing  the  title  of  Sacred  Memory, 
who  for  the  greater  fame  of  this  honourable  fraternity  [the  Drapers]  presents  the 
never-dying  names  of  memorable  and  remarkable  worthies  of  this  ancient  so 
ciety."  Sir  Henry  Fitz-Alwin  sat  figured  under  the  person  of  Government;  Sir 
John  Norman  under  the  person  of  Honour;  Sir  Francis  Drake  under  that  of 
Victory;  Sir  Simon  Eyre  3  under  that  of  Charity;  Sir  Richard  Champion  and 
Sir  John  Milbourne  under  Munificence  or  Bounty;  Sir  Richard  Hardell  and  Sir 
John  Poultney  under  Justice  and  Piety.4  The  chariot  was  drawn  by  lions,  the 
supporters  of  the  Company's  arms,  mounted  by  two  riders  representing  Power 


1  It  was  not  uncommon  to  represent  the  same  character  twice  in  the  same  show. 

2  This  has  not  been  reprinted;   cf.  Fairholt,  pt.  i,  p.  123. 

3  Simon  Eyre  was  the  name  of  the  shoemaker-mayor  of  London  in  Dekker's  Shoemaker's 
Holiday.    The  real  Simon  Eyre  died  18  September,  1459;   see  Stow's  Survey  (ed.  Kingsford, 

i,  P-  154). 

4  Cf.  Bullen's  Middleton,  vii,  p.  342  for  another  list  of  the  same  worthies  in  very  much 
the  same  language.    The  Triumphs  of  Integrity  repeats  The  Sun  in  Aries.    Fame  sounds  the 
praises  of  the  Drapers  in  the  latter  show:   Antiquity,  "  the  register  of  Fame,"  contains  "  in 
her  golden  legend  their  names  and  titles." 

In  the  1626  Show  (Bullen's  Middleton,  vii,  pp.  403  f.)  was  a  "  Sanctuary  of  Prosperity  " 
on  the  top  arch  of  which  hung  the  Golden  Fleece  (the  mayor  being  a  Draper)  recalling  Sir 
Francis  Drake,  "  that  most  famous  and  renowned  brother  of  this  company  .  .  .  who  never 
returned  to  his  country  without  the  golden  fleece  of  honour  and  victory:  the  four  fair  Corin 
thian  columns  or  pillars  imply  the  four  principal  virtues,  Wisdom,  Justice,  Fortitude,  Tem 
perance."  (Ibid.,  p.  406.  These  were  usually  personified.)  A  "  speech  in  the  Sanctuary  upon 
the  Fleece,"  lauds  Sir  Francis,  "  England's  true  Jason."  Passing  from  this,  the  mayor  and 
his  company  were  taken  to  the  Chariot  of  Honour,  where  Sir  Henry  Fitz  Alwin  illustrated 
Government,  Sir  John  Norman,  Munificence,  Sir  Simon  Eyre,  Piety,  "  et  sic  de  ceteris," 
(p.  407).  Again,  lions,  mounted  by  Power  and  Honour,  drew  the  chariot.  Fitz  Alwin  ap 
peared  in  the  1615  Show. 


THE  LORD  MAYOR'S  SHOW  79 

and  Honour.1  Memory  delivered  the  speech,  calling  to  mind  the  advantage  of 
a  fame  built  on  virtues  over  an  age  which  "  sits  laughing  upon  heaps  of  gold." 

In  this  same  show  appeared,  in  St.  Paul's  Churchyard,  the  Mount  Royal, 
"  on  which  are  placed  certain  kings  and  great  commanders,  which  ancient  his 
tory  produces,  that  were  originally  sprung  from  shepherds  and  humble  begin 
nings:  only  the  number  of  six  presented;  "  which  were  Viriat,  Arsaces,  Marcus 
Julius  Lucinus,  Bohemia's  Primislaus,  the  Emperor  Pertinax,  and  Tamburlaine. 
A  speech  from  the  mount  explained  the  part  that  Virtue  played  in  raising  the 
great  from  the  humble.2  Here  the  morality  element  attaches  itself  to  history 
as  (with  Ulysses  in  1631)  it  had  to  mythology.3 

The  historical  element  in  these  shows  is  doubtless  an  inheritance  from  the 
"  royal-entry,"  stimulated  by  obvious  opportunities  for  recalling  the  glorious 
past  of  the  Companies.4  In  The  Sun  in  Aries,  Tame  salutes  the  mayor  from  the 
"  master  triumph,"  the  Tower  of  Virtue;  and  when  he  is  done,  "  one  in  a  cloudy, 
ruinous  habit,  leaning  upon  the  turret,  at  a  trumpet's  sounding  suddenly  starts 
and  wakes,  and  in  amazement  throws  off  his  unseemly  garments."  His  speech 
is  an  historical  resume,  and  a  welcome  to  the  mayor.5  In  the  following  year, 
Middle  ton  provided  a  Chariot  of  Fame,  "  which  awaits  his  Honour's  approach 
near  the  Little  Conduit  in  Cheap,"  where  "  Antiquity,  a  grave  and  reverend 
personage  with  a  golden  register-book  in  his  hand,"  recalled  the  past.6 

Sir  John  Hawkwood,  an  old  Merchant-Taylor,  appeared  in  i68o,7  and  again 


1  Bullen,  vii,  pp.  388  f. 

2  Such  combinations  as  an  allegorical  Virtue  treading  an  historical  wrong-doer  under  foot 
—  as  seen  at  Edinburgh  in  1503,  for  example  —  show  the  combination  of  allegory  and  history 
in  the  "  royal-entry."    The  Liberal  Sciences  were  sometimes  —  as  in  1432  —  represented  by 
historical  figures  as  well  as  allegorical,  or  symbolical,  personifications. 

In  1676,  the  second  pageant  was  a  Chariot  "according  to  the  Scythian  mode  of  Building," 
upon  whose  eminent  seat  was  mounted  Tamburlaine;  he  was  attended  by  Discipline,  Con 
duct,  Courage,  and  Victory,  "  properly  arrayed."  The  chariot  was  drawn  by  two  golden 
lions,  the  supporters  of  the  Company's  arms.  Tamburlaine  addressed  the  mayor. 

In  the  same  show,  on  the  first  pageant,  at  Minerva's  feet  was  "  a  grave  personage,  repre 
senting  Government,  in  the  shape  of  the  old  Roman  orator  Cicero."  (My  citations  are  from 
the  descriptive  pamphlet;  but  mention  of  these  matters  is  made  by  Fairholt,  pt.  i,  pp.  85 
and  86.) 

Tamburlaine,  as  one  of  Marlowe's  characters,  appeared  in  the  1908  Show  (see  below, 

P-  135)- 

3  See  p.  77,  n.  2. 

4  As  examples  of  history  in  the  "  royal-entry,"  it  will  suffice  to  recall  the  six  Henries  at 
York  in  1486;    the  Philips  of  1554;    Charlemagne  in  1522;   Edward  and  the  nine  Worthies 
at  Coventry  in  1456;  Richard  at  Coventry  in  1474,  and  Alphonso,  Job,  and  Boethius  in  1501. 

5  Bullen's  Middleton,  vii,  pp.  344  f .    In  the  Chariot  of  Honour,  this  same  year,  Alexander 
and  Caesar  appeared  with  Jason  and  Hercules  —  a  mixture  of  history  and  mythology. 

6  The  Triumphs  of  Honour  and  Virtue,  the  Show  for  1622.    Bullen's  Middleton,  vii,  p.  360. 

7  This  pamphlet  of  Jordan's  has  not  been  reprinted;   the  figure  of  Sir  John  is  recorded  by 
Fairholt,  pt.  i,  p.  93.    The  pamphlet  reads:   "  On  the  lowest  seat  [of  the  first  pageant,  which 


8o  ENGLISH  PAGEANTRY 

in  1693 —  where  he  occupied  a  place  on  the  fifth  pageant.1  Sir  William  Wai- 
worth  was  a  popular  figure  in  these  shows.  In  1616  he  made  an  extraordinary 
resurrection,  summoned  from  the  tomb  by  the  "  Genius  of  the  City."  2  The 
fifth  pageant  of  this  show  was  "  a  goodly  Bower,  shaped  in  forme  of  a  flowrie 
Arbour,  and  adorned  with  all  the  Scutchions  of  Armes  of  so  many  worthy  men, 
as  have  been  Lord  Maiors 3  of  the  Fishmongers  Company  and  each  mans  name 
truely  set  downe  on  them.  It  is  appointed  first  to  stand  in  Paules  Church-yard: 
And  at  such  a  place  as  is  thoght  most  convenient.  In  this  Bower  is  a  faire  Tombe, 
whereon  in  Armour  lyeth  the  imaginary  body  of  Sir  William  Walworth,  some 
time  twise  Lord  Maior  of  London,  and  a  famous  Brother  of  the  Fishmongers 
Company.  The  reason  of  this  conceit,  aimeth  at  that  tempestuous  and  trouble 
some  time  of  King  Richard  the  Second,  and  the  fourth  yeare  of  his  Raigne,  whose 
life,  Crowne,  and  Dignitie  .  .  .  were  manfully  defended  and  preserved  by  that 
worthy  man  Walworth."  Five  mounted  knights  in  armour  attended  him;4 
"  London's  Genius,  a  comely  Youth,  attired  in  the  shape  of  an  Angell,  with  a 
golden  Crowne  on  his  head,  golden  Wings  at  his  backe,  bearing  a  golden  Wand 
in  his  hand,  sits  mounted  on  Horsebacke  by  the  Bower;5  with  an  Officer  at 
Armes,  bearing  the  Rebels  head  on  Walworth's  Dagger."  Upon  the  mayor's 
arrival,  the  Genius  struck  Walworth  with  his  wand,  and  the  latter  arose  from  his 
tomb  to  address  the  new  executive.6  Sir  William  also  appeared  in  1700,  when 
"  a  Cavalcade  is  Perform'd  by  several  Persons  Riding  in  Armour,  viz.  the  first 
the  Sergeant  at  Mace,  Arm'd  Ca-pa-pee  (sic),  bearing  the  Head  of  Wat  Tyler  on 
a  Bloody  Spear.  The  next  the  famous  Sir  William  Walworth,  Arm'd  likewise 
Cap-a-pee,  and  the  other  Five  being  so  many  Aldermen,  also  all  in  Rich  Armour; 
these  all  mounted  on  Manag'd  Horses,  most  Richly  Caparison'd,  &c.  march 
before  the  last  Pageant,  being  the  Fifth  Pageant,  the  Chariot  of  Honour."  7 

is  otherwise  occupied  by  male  allegorical  figures]  alone  sitteth  an  ancient  English  Hero, 
habited  in  Antick  Habiliaments  of  War,  such  as  were  worn  by  the  Chief  Commanders:  under 
the  Conduct  of  Edward  the  Third,  when  he  conquered  France,  whose  Name  was  Sir  John 
Hawkwood,  a  Merchant-Taylor."  Sir  John  addressed  the  mayor. 

1  See  the  descriptive  pamphlet,  which  has  not  been  reprinted.    Fairholt  had  not  been 
able  to  find  a  copy  (pt.  i,  p.  112);  one  is  now  in  the  Brit.  Mus. 

2  For  a  full  account,  with  illustrations,  see  J.  G.  Nichols's  ed.  of  Chrysanaleia,  with  Shaw's 
plates  made  from  contemporary  drawings.    On  p.  18  (plate  v)  this  pageant  is  described. 

3  In  the  first  pageant  of  Settle's  Show  for  1699,  Triumph  sat  surrounded  by  the  escut 
cheons  of  twenty  Lord  Mayors,  members  of  the  Haberdashers'  Company. 

4  They  represented  the  five  knighted  with  him  on  the  field,  after  Wat  Tyler  was  slain. 
(See  Nichols's  ed.,  plates  vii  and  viii.)  5  Ibid.,  plate  x. 

5  The  last  grand  pageant  of  this  show,  "  drawne  by  two  Mare-men  and  two  Mare-mayds, 
as  being  supporters  to  the  Companies  coate  of  Armes  [Plates  xi  and  xii]  "  contained  a  vic 
torious  angel  at  the  top,  beneath  whom  sat  Richard  II,  surrounded  by  impersonations  of 
kingly  virtues. 

7  Descriptive  pamphlet,  p.  5.    Cf.  Fairholt,  pt.  i,  p.  116,  citing  the  Post  Boy.    Cf.  above, 
p.  68. 

Fame  occupied  the  highest  seat  of  this  "  Chariot  of  Honour  ";  before  her  sat  Richard  II 


;  *2  *7 -«?    v_ Y.  T^Qr- *  ji         ^-flSi^^^W   -TJ  »Ti  -rT"*1^  i>^-~S,, 


' la    AJHT    i-^ri-^ •  \ "j^m»\  -'J'-1  -A\ '     ___^— — 


SIR  WILLIAM  WALWORTH  IN  THE  1616  SHOW 


THE  LORD  MAYOR'S  SHOW  8 1 

In  Dekker's  Show  for  1612,  Fame  welcomed  the  mayor,  and  gave  a  list  of 
kings  who  had  been  members  of  the  Merchant-Taylors'  Company;  in  i66o,'the 
mayor  was  entertained  "  by  a  pageant  or  scean  "  representing  a  royal  tent,  in 
front  of  which  sat  Henry  VII  holding  the  first  charter  of  the  Merchant-Taylors' 
guild.  A  "  Soldier-senator  "  occupied  a  lower  seat;  his  speech  referred  to  the 
past  great  members  of  the  Company,  and  gave  thanks  for  the  return  of  Charles. 

There  is  —  as  we  have  noted  1  —  considerable  real  and  fictitious  history  re 
told  in  Munday's  show  for  1605;  former  mayors  occupied  the  Castle  of  Fame 
or  Honor  in  1617,  and  in  1619  there  was  a  Sanctuary  of  Fame,  on  which  twenty- 
six  bright-burning  lamps  represented  the  twenty-six  Aldermen;  Example,  who 
sat  on  the  structure,  assured  the  mayor  that  he  would  find  a  place  in  the  Temple 
where  the  members  of  his  company  who  have  preceded  him  in  office  were  "  en 
rolled.  " 2 

The  mayor  was  then  taken  towards  the  Parliament  of  Honour,  near  St. 
Laurence  Lane-end,  where  Antiquity  saluted  him,  and  called  attention  to 

"  .  .  .  this  mount  of  royalty,  by  kings  grac'd 

Queens,  prince,  dukes,  nobles,  more  by  numbering  gain'd 

Than  can  be  in  this  narrow  sphere  contained; 

Seven  kings,  five  queens,  only  one  prince  alone 

Eight  dukes,  two  earls,  Plantagenets  twenty-one: 

All  these  of  this  fraternity  made  free,"  etc.3 

"  In  former  times,"  says  Fairholt,  "these  pageants  and  their  allusions  con 
nected  themselves  in  no  small  degree  with  the  history  of  the  country,  and  its 
political  movements;  and  shadowing  forth  as  they  do,  the  opinions  of  the  me 
tropolis,  they  are  worthy  of  more  attention  than  may  be  at  first  imagined,  by 
persons  who  only  know  them  through  the  expiring  relics  now  yearly  exhibited."  4 

trampling  Insurrection  under  his  feet.  Conduct,  Prudence,  Temperance,  and  Vigilance  sat 
around  him,  and  in  front  Augusta  bore  the  City  sword,  and  the  City  Arms.  Settle  echoes  the 
old  error  (Pamphlet,  p.  6)  in  Augusta's  speech: 

"  Walworth  made  War  and  Conquest  at  a  Blow 
With  that  Great  Deed  proud  Albion's  Annals  fill'd, 
His  bloody  Steel  adorns  my  Glorious  Shield." 

Fairholt  points  out  (pt.  i,  p.  116,  n.  2)  that  the  sword  of  St.  Paul  —  not  the  dagger  of 
Walworth  —  is  on  the  shield  of  London. 

1  Above,  p.  29. 

2  Among  them  was  Sir  Henry  Barton,  who  first  had  lights  hung  out  in  the  city  "  for  the 
safety  of  travellers  and  strangers."    Sir  Wolstone  Dixie  also  appeared.    It  is  not  quite  clear 
whether  the  mayors  (named  in  Bullen's  ed.  of  Middleton,  vii,  p.  322)  were  represented  by 
living  figures,  or  whether  their  names  were  written  on  the  Sanctuary.    Of  course  the  emphasis 
on  history  is  almost  as  strong  if  the  latter  were  the  case. 

We  shall  see  that  former  lord  mayors  and  kings  appeared  in  the  1884  Show;  cf.  also 
those  of  1895,  1906,  and  1913  (below,  pp.  127,  132,  and  138). 

3  Bullen's  Middleton,  vii,  p.  324.    The  list  is  given  more  in  detail,  ibid.,  pp.  325  f. 

4  Op.  cit.,  pt.  i,  p.  ii. 


82  ENGLISH  PAGEANTRY 

Most  of  the  history,  which  we  have  found  so  largely  mixed  with  allegory  that 
it  is  impossible  entirely  to  extricate  it,  is  brought  into  the  seventeenth-century 
shows  to  glorify  the  Company  which  is  meeting  the  expenses  of  the  inauguration. 
Just  how  far  the  triumphs  shadow  forth  the  opinions  of  the  metropolis  is,  I 
think,  doubtful ;  it  is  even  dubious  how  far  they  reflect  the  real  opinions  of  their 
authors:  but  they  are  instructive  as  giving  us  a  glimpse  of  the  customs  of  the 
past,  as  showing  us  the  kind  of  thing  the  people  of  the  century  swarmed  to  see. 

BIBLICAL  CHARACTERS,  AND  SAINTS,  IN  THE  SHOWS 

The  "  royal-entries  "  before  1500  included  Biblical,  as  well  as  historical  and 
allegorical  characters;  the  early  Lord  Mayor's  Shows  were  largely  religious. 
John  the  Baptist  appeared  in  I553,1  and  again  in  1554; 2  in  1561  David  appeared 
with  Orpheus  and  Amphion  to  honor  Sir  W.  Harper.3  In  1568  John  the  Baptist 
appeared  again,4  as  the  patron-saint  of  the  Merchant-Taylors'  Company.5  Just 
as  the  morality-play  substituted  allegorical  characters  for  the  earlier  individuals 
of  the  Biblical  "  mysteries,"  so  in  pageantry  the  development  was  from  Biblical 
characters  to  abstractions.  The  reason  for  this  is  obvious;  for  unless  a  Biblical 
character  were  appropriate  to  the  Company  providing  the  show,  he  could  not 
hold  his  place.  Symbolism  is  at  the  bottom  of  these  triumphs;  and  allegorical 
figures  are  more  easily  made  symbolic  than  are  Biblical  characters. 

It  is  not  long  before  the  only  Biblical  characters  who  appear  are  the  patrons 
of  the  Companies;  or —  if  we  may  class  the  saints  with  Biblical  characters  — 
the  national  patrons  of  Britain.  In  1609,  St.  Andrew,  riding  a  unicorn,  and 
St.  George,  his  dragon,  appeared  "  vnited  now  in  enduring  amitie." 6  The  seven 
Champions  of  Christendom  appeared  in  the  Show  for  1681; 7  and  the  Mercers' 
Virgin  was  seen  more  than  once,8  —  sometimes  on  horseback,  more  often  in  her 
chariot.  The  Eight  Beatitudes  appeared  in  1623 ;9  "near  the  entrance  of 
Wood  Street,  the  Imperial  Canopy  (being  the  Drapers'  arms)  is  planted,  and  the 
rest  about  the  Cross,  —  the  Imperial  Canopy  covered  the  Eight  beatitudes 
('  Beati  pacifici,'  being  the  king's  word  or  motto,  is  set  in  fair  great  letters  near 
the  uppermost  of  the  three  crowns)  as  the  King  must  not  be  forgotten  in  the  tri- 

1  See  above,  p.  14.  3  See  above,  pp.  18,  and  n.  2;  19,  and  n.  i. 

2  See  above,  p.  15.  4  See  above,  p.  21. 

6  In  1553,  a  Merchant-Taylor  was  inaugurated;  but  in  1554  the  mayor  was  a  Grocer. 

6  See  above,  p.  30. 

7  This  is  reprinted  by  Heath  (3d  ed.)  pp.  536  f.    The  saints  are:   George,  for  England; 
Andrew,  for  Scotland;  Dennis,  for  France;  Patrick,  for  Ireland;  David,  for  Wales;  James, 
for  Spain,  and  Anthony,  for  Italy.    The  latter  was  the  patron  of  the  Grocers. 

8  The  Virgin  appeared  with  the  Drapers'  Company  in  1638;  with  the  Mercers'  in  1655; 
in  1686;  and  in  1701.    (See  Fairholt,  pt.  ii,  p.  75;  pt.  i,  pp.  64,  102,  and  117  f.) 

9  It  will  be  recalled  that  they  took  part  in  Elizabeth's  royal  passage  across  London  in 
1559  (see  above,  vol.  i,  p.  201).    These  figures  may  be  a  development  of  the  1522  "  scripture  " 
(cf.  vol.  i,  p.  177). 


THE  LORD  MAYOR'S  SHOW  83 

umph  of  his  great  substitute."  1  In  the  second  pageant  of  Jordan's  London  in 
Luster — written  for  the  Drapers  in  1679 — sat  David,  attended  by  various 
shepherds  and  shepherdesses:  Vigilius,  Precaria,  Canonicus,  Evangelia,  Ortho- 
doxus,  and  Protestantia,  among  others.2  His  speech  began: 

"  I  represent  that  shepherd  whose  abode 
Was  Palestine,  One  who  Divinely  trod 
And  said,  My  Shepherd  is  the  Living  God." 

St.  Martin,  patron  of  the  Vintners',  received  the  mayor  on  his  return  from 
Westminster  in  iyo2;3  St.  Dunstan,  with  a  goldsmith's  forge,  and  workmen 
about  him,  defied  the  devil  —  seizing  him  by  the  nose  with  his  tongs  —  in  the 
1674  Show,4  and  St.  Katharine,  patroness  of  the  Haberdashers,  sat  surrounded 
by  her  servants  —  some  carding  wool,  some  spinning,  others  knitting  caps, 
while  a  shepherd  kept  his  sheep  in  the  background —  on  the  "  maine  Pageant  " 
of  the  1620  Show.5  In  1631,  St.  Katharine  occupied  a  place  in  the  Palace  of 
Honour,  whence  she  addressed  the  mayor; 6  and  she  appeared  also  in  1637  and 
1699. 7 

CLASSICAL  CHARACTERS 

We  have  already  noted  the  important  part  played  in  these  shows  by  mythol 
ogy;  but  occasionally  we  find  classical  characters  which  are  rather  historic  than 
mythological.  Pythagoras  delivered  the  first  speech  and  "  Linvoy  "  in  London's 
Mirror; 8  Aristotle,  Plato,  Socrates,  and  Diogenes,  with  "  a  Learned  woman 
called  Diotema"  occupied  the  "Academy  of  Sciences"  in  1681;  Diogenes 
emerged  from  his  tub  to  address  the  mayor,9  —  he  is  connected  with  the  Grocers 
through  his  currant-butt. 

There  were  forty  lictors  in  Roman  habits,  with  masked  faces  of  silver,  in 
Taubman's  Show  for  1686 ;10  they  escorted  the  "Imperial  Triumphant  Chariot 


1  Bullen's  Middleton,  vii,  p.  392. 

2  See  the  Pamphlet,  pp.  9-12,  and  Fairholt,  pt.  i,  p.  91. 

3  Fairholt,  pt.  i,  p.  118.    The  saint  is  attended  by  twenty  satyrs  dancing  before  him; 
two  persons  in  rich  liveries  walk  by  his  horse;    ten  "  halberteers  "  and  ten  Roman  lictors 
escort  him,  and  several  cripples  and  beggars,  supplicating  for  his  charity,  follow  him.    As 
Fairholt  points  out,  Settle  is  blind  to  the  absurdities  of  this  group. 

4  St.  Dunstan  is  the  patron  of  the  Company.    He  appeared  in  1611  (see  above,  p.  31); 
in  1687  (Fairholt,  pt.  i,  p.  103);  and  was  to  have  appeared  in  1708  (ibid.,  p.  123). 

5  This  is  reprinted  in  Prog.  James,  iii,  pp.  619  f.;   cf.  Fairholt,  pt.  i,  p.  47. 

6  Fairholt,  pt.  i,  p.  56. 

7  Cf.  Heywood's  Works  (1874)  iv,  p.  308;  Fairholt,  pt.  i,  pp.  58  and  116. 

8  Heywood's  Show  for  1637,  reprinted  in  his  Works  (1874)  iv,  pp.  301  f.;    cf.  Fairholt, 
pt.  i,  p.  59. 

9  See  Fairholt,  pt.  i,  pp.  96  and  97.    He  does  not  name  the  philosophers  except  Diogenes; 
but  the  names  are  recorded  in  the  descriptive  pamphlet. 

10  See  the  descriptive  pamphlet  of  this  show,  which  was  entitled  London's  Yearly  Jubilee; 
also  Fairholt,  pt.  i,  p.  103. 


84  ENGLISH  PAGEANTRY 

of  Roman  form/'  in  which  sat  the  Mercers'  patroness,  the  Virgin.  This  combi 
nation  foreshadows  the  lictors,  satyrs,  and  St.  Martin  of  1702.*  In  1664,  Mag 
nanimity,  surrounded  by  various  animals  under  the  protection  of  a  lion,  on 
which  he  was  mounted,  was  "  habited  like  a  Roman  general,  in  a  buff  doublet 
and  scarlet  breeches ! " 2 

MUSIC  IN  THE   SHOWS 

It  is  unnecessary  to  pick  out  the  various  instances  of  music  in  pageantry. 
Already  in  the  days  of  the  "  royal-entry  "  the  minstrel  played  an  important  part 
in  the  triumph;  and  —  while  not  an  integral  part  of  these  shows  —  music,  both 
vocal  and  instrumental,  was  commonly  found  in  these  entertainments.  Where 
it  was  particularly  needed,  of  course,  was  with  the  "  drolls,"  who  alternated 
their  dancing  and  tumbling  with  songs.  In  Dekker's  London's  Tempe  we  find 
the  song  of  the  smiths  at  the  Lemnian  Forge ;  Jordan's  Triumphs  of  London  for 
1678  gives  us  a  stout  planter,  "  with  a  voice  like  a  trumpet,"  who  bellows  forth 
a  song  from  the  Indian  plantation.3  Apollo  and  Orpheus  were  usually  accom 
panied  by  minstrels;  and  occasionally  a  "  musical  dialogue  "  like  that  of  1684 4 
would  take  place.  The  banquets  at  Guildhall  are  still  accompanied  by  music  — 
but  they  lie  outside  our  field. 

DANCING  AND  TUMBLING  IN  THE  SHOWS 

Another  element,  which  is  often  found  in  these  shows,  though  not  an  integral 
part  of  them,  is  the  dancing  and  tumbling  of  the  "  drolls,"  who  are  usually  given 
a  setting  suitable  to  the  mayor's  company.  Mr.  Dyamond  "  tumbled  "  in 
Tatham's  Show  for  1660,  and  Jacob  Hall  brought  his  troupe  to  at  least  one 
triumph;5  but  the  writers  of  these  entertainments  did  not,  evidently,  take 
kindly  to  the  "  drolls,"  for  Heywood  says  that  "  the  third  Plat-forme  is  con 
trived  onely  for  Pastime,  to  please  the  vulgar,"6  and  again,  "  the  third  Pageant 

1  See  above,  p.  83,  and  n.  3. 

2  See  the  descriptive  pamphlet  of  the  show,  and  Fairholt,  pt.  i,  p.  72. 

3  See  Fairholt,  pt.  ii,  p.  168.  4  See  above,  p.  62. 
6  Cf.,  e.g.,  Jordan's  London's  Resurrection,  (Fairholt,  pt.  ii,  p.  138.) 

6  Londons  Sinus  Salutis;  Works  (1874)  iv,  p.  292.  As  an  example  of  the  way  the  poets 
described  these  "  drolls  "  when  they  wanted  to  make  the  best  of  it,  let  me  cite  Jordan's  de 
scriptive  pamphlet  for  1676:  near  St.  Laurence  Lane  end  was  "a  kind  of  Chase  artfully 
contrived  "  with  trees,  grass,  bushes,  birds,  flowers,  shepherds,  shepherdesses,  and  sheep  on 
one  part  of  the  stage;  and  on  the  other  side,  persons  at  work:  an  old  woman  spinning  yarn 
for  woollen  cloth;  another  carding  wool;  a  third  picking  it;  and  in  the  middle,  a  crew  of 
mad,  frolicking  shepherds,  piping,  dancing,  and  tumbling,  "  being  intended  for  a  description 
of  Disorder,  and  an  elaborate  expression  of  Confusion;  where  since  no  Song  can  be  heard,  I 
have  omitted  it,  because  it  would  be  rendered  as  ineffectual  as  the  sound  of  a  Lute  in  a 
Whirlwind." 

In  1677,  the  fourth  pageant  was  a  "  Jocular  Scene  "  containing  "  a  brisk  Society  of  merry 
Labourers."  Three  masculine  figures,  representing  Patience,  Labour,  and  Diligence,  occupied 


THE  LORD  MAYOR'S  SHOW  85 

or  Show  merely  consisteth  of  Anticke  gesticulations,  dances,  and  other  mimicke 
postures,  devised  onely  for  the  vulgar,  who  are  better  delighted  with  that  which 
pleaseth  the  eye,  than  contenteth  the  eare."1  In  the  pageantry  of  our  own  day, 
under  different  circumstances  of  production,  the  dance  has  become  —  in  America, 
at  all  events —  very  important;  it  is  yoked  to  symbolism,  and  aims  no  longer 
solely  to  amuse. 

These  "  drolls,"  who  were  sometimes  shepherds,  seem  to  have  absorbed  some 
of  the  characteristics  of  the  older  "  wild-men."  It  may  be  observed  that  in 
1686  the  Mercers'  Virgin  was  preceded  by  "  twenty  Savages  or  Green  Men,  with 
Squibs  and  Fireworks,  to  sweep  the  streets,  and  keep  off  the  Crowd."  2  Of 
course,  the  "  drolls  "  did  not  clear  the  streets:  but  they  were  not  unlike  the 
"  hommes  sauvages  "  of  i43i.3 

CONCLUSION 

We  have  seen  how  the  Lord  Mayor's  Show  rose  out  of  the  "  Midsummer 
Show;  "  how  it  borrowed  much  from  the  "  royal-entry,"  and  finally  drove  that 
form  of  pageantry  almost  out  of  existence.  We  have  seen  how  it  gradually  grew 
in  elaboration;  how  its  course  was  interrupted  by  the  Civil  War;  how,  in  the 
hands  of  minor  poets,  who  had  to  use  many  of  the  same  properties  over  and  over 
again,  it  lacked  novelty,  and  finally  fell  into  decay  in  1702.  Settle  tried  to  re 
vive  it  in  1708,  but  the  death  of  the  Prince  of  Denmark  prevented  the  perform 
ance  of  his  show;  and  speech  has  never  crept  into  this  annual  parade  since. 
What  its  course  has  been  for  the  last  two  hundred  years,  we  shall  discover  in  the 
next  two  sections  of  this  chapter. 


the  most  conspicuous  position.  At  their  feet  were  several  workers,  spinning,  carding,  &c., 
while  others,  "  more  jocose  and  at  liberty  sing  a  Song  in  Commendation  of  the  Cloth-workers- 
Trade,  and  at  the  end  of  the  Song,  certain  Rusticks,  and  Shepherd-like  persons,  Pipe,  Dance, 
and  exercise  the  activity  of  their  limbs,  in  Gambolling,  Tumbling  and  Capering  .  .  .  the  whole 
Pageant  being  a  piece  of  ingenious  Confusion,  or  a  Comical  Scene  of  delightful  disorder." 
(From  the  descriptive  pamphlet  for  this  year.) 

We  may  refer  to  the  "  drolls  "  in  Tatham's  Aqua  Triumphalis  of  1662  (above,  vol.  i, 
p.  249)  as  well  as  to  the  tumblers  in  1547  (i,  p.  186) ;  1553  (i,  p.  189) ;  and  1554  (i,  p.  193  f.). 
Perhaps  the  "  hommes  et  femmes  sauvages,"  who  greeted  Henry  VI  at  Paris  in  1431  (see 
vol.  i,  pp.  76  and  139)  are  related  to  the  "  drolls  ";  though  they  may  not  have  sung,  their 
acrobatic  performance  entitles  them  to  consideration  in  this  light. 

1  Londons  Mirror;  Works,  iv,  p.  312. 

2  London's  Yearly  Jubilee;  cf.  Fairholt,  pt.  i,  p.  103.    Cf.  the  "  wodyn  "  of  1553  (above, 
p.  13  f.)  and  the  wild-men  of  1575  (above,  p.  22.)    There  were  lictors  and  "  green  men  "  and 
satyrs  in  the  1687  Show;  cf.  the  descriptive  pamphlet  —  Fairholt's  account  (pt.  i,  p.  103  f.) 
does  not  mention  them. 

3  See  above,  vol.  i,  p.  139. 


86  ENGLISH  PAGEANTRY 

§  3.    THE  DECLINE  OF  A  TIME-HONORED  CUSTOM, 

1708-1858 

With  the  Lord  Mayor's  Show  of  1702,  speech  departed  from  the  civic  tri 
umphs;  for,  though  Settle  planned  a  series  of  pageants  for  1708,  and  wrote  the 
speeches  for  them,  the  death  of  the  Prince  of  Denmark  prevented  the  exhibition. 
There  seems  to  have  been  no  interruption  in  the  annual  processions  between 
1702  and  1708;  and  we  may  presume  that  some  of  them  were  accompanied  with 
pageantry,  although  speeches  were  done  away  with;  the  failure  to  employ  the 
services  of  a  poet  would  account  for  the  lack  of  descriptive  pamphlets.  Since 
many  Companies  owned  the  "  properties  "  of  earlier  pageantic  "  triumphs,"  it 
would  not  be  surprising  to  discover  that  they  brought  them  out  on  Lord  Mayor's 
Day;  and  the  description  of  that  festival  in  Ned  Ward's  London  Spy  seems  to 
lend  color  to  the  supposition  that  they  did. 

The  passage  in  the  rare  volume  to  which  I  have  just  alluded,  has  been  reprinted 
in  the  Journal  of  English  and  Germanic  Philology,  for  January,  1918;  it  is  vivid 
and  entertaining,  despite  the  satire.  Exaggerated  as  it  is,  it  is  no  worse  than  the 
laudatory  accounts  written  by  the  poets  who  err  on  the  other  side,  being  too  par 
tial  to  the  products  of  their  brains;  and  Ward's  fun  is  a  good  antidote  to  Settle's 
fulsomeness.1  We  may  note  that  Ward  does  not  mention  speeches,  as  we  might 
expect  he  would  have  done,  had  there  been  any. 

Perhaps  such  attacks  as  this  helped  to  bring  the  show  into  disrepute ;  at  any 
rate,  during  the  eighteenth  and  early  nineteenth  centuries  it  fell  from  the  position 
it  had  held.  It  continued,  however,  to  appeal  to  the  people;  and  that  the  show 
is  not  dead  today  is  largely  due  to  the  "  mobility." 

As  a  mere  procession,  the  Lord  Mayor's  Show  fails  to  interest  us,  and  it  seems 
to  have  been  little  else  early  in  the  eighteenth  century.  Fairholt  records  that 
Sir  Gilbert  Heathcote,  in  1711,  was  the  last  mayor  to  ride  on  horseback  at  his 
mayoralty; 2  and  says  that  since  this  year  the  mayor  has  ridden  to  Guildhall 
in  a  coach; 3  that  before  1740,  it  was  drawn  by  four  horses,  but  that  that  year 
it  had  six.4 


1  With  this  passage  should  be  compared  the  description  by  Celia  Fiennes,  (above,  p.  66  f .) 
and  Henley's  "  oration  "  of  1730,  reprinted  by  Fairholt,  pt.  i,  pp.  126  ff.    The  latter  mentions 
pageants  and  the  City  Giants.    I  have  quoted  Ward's  description  of  the  latter  (above,  vol.  i, 
p.  61)  and  his  humorous  picture  of  the  City  Waits  (above,  vol.  i,  p.  50,  n.  2). 

2  Pt.  i,  p.  124;  he  cites  Hone,  p.  261,  as  does  J.  G.  Nichols,  p.  120.    A  writer  in  the  Athe 
naeum  for  3  November,  1860,  p.  585,  notes,  —  like  Hone,  he  fails  to  give  his  authorities,  — 
that  Sir  Gilbert  was  the  last  mayor  to  ride;  and  further  remarks  that  he  was  "  that  '  large- 
acred  man,'  whom  Pope  has  immortalized,  whom  Addison  has  made  known  under  the  pseu 
donym  of  Freeport.  .  ." 

3  Hone,  p.  261;   Fairholt,  pt.  i,  p.  124;   Davey,  i,  p.  103.    The  Repertories  and  Journals 
are  strangely  silent  on  this  matter  of  a  state  coach. 

4  Fairholt,  pt.  i,  p.  130  f.    He  records,  ibid.,  that  the  coach  may  be  found  in  the  conclud- 


THE  LORD  MAYOR'S  SHOW  87 

1717  —  A  PAGEANTIC  SHOW  AT  ADRIANOPLE 

We  may  note  in  passing  that  in  a  letter,  written  on  17  May,  1717,  Lady  Mary 
Wortley  Montagu  gives  an  account  of  a  pageant  which  she  saw  at  Adrianople.1 
It  included  many  features  of  the  seventeenth-century  Lord  Mayors'  Shows, 
among  which  "  a  man  dressed  in  green  boughs,  representing  a  clean  husband 
man  sowing  seed,"  may  be  a  development  of  some  Turkish  "  green-man."  "  Af 
ter  him  several  reapers,  with  garlands  of  ears  of  corn,  as  Ceres  is  pictured,  with 
scythes  in  their  hands,  seeming  to  mow.  Then  a  little  machine  drawn  by  oxen, 
in  which  was  a  windmill,  and  boys  employed  in  grinding  corn,  followed  by  an 
other  machine,  drawn  by  buffaloes,  carrying  an  oven,  and  two  more  boys,  one 
employed  in  kneading  the  bread,  and  another  in  drawing  it  out  of  the  oven.2 
These  boys  threw  little  cakes  on  both  sides  among  the  crowd,  and  were  followed 
by  the  whole  company  of  bakers,  marching  on  foot,  two  by  two,  in  their  best 
clothes,  with  cakes,  loaves,  pastries,  and  pies  of  all  sorts,  on  their  heads,  and 
after  them  two  buffoons,  or  jack-puddings,  with  their  faces  and  clothes  smeared 
with  meal,  who  diverted  the  mob  with  their  antic  gestures.3  In  the  same  manner 
followed  all  the  companies  of  trade  in  the  empire;  the  nobler  sort,  such  as 
jewelers,  mercers,  etc.,  finely  mounted,  and  many  of  the  pageants  that  repre 
sent  their  trades,  perfectly  magnificent;  among  which,  that  of  the  furriers  made 
one  of  the  best  figures,  being  a  very  large  machine  set  round  with  the  skins  of 
ermines,  foxes,  etc.,  so  well  stuffed  that  the  animals  seemed  to  be  alive,  and  fol 
lowed  by  music  and  dancers.  I  believe  they  were,  upon  the  whole,  twenty  thou 
sand  men,  all  ready  to  follow  his  highness  if  he  commanded  them.  The  rear  was 
closed  by  the  volunteers,  who  came  to  beg  the  honor  of  dying  in  his  service. 
This  part  of  the  show  seemed  to  me  so  barbarous  that  I  removed  from  the  win 
dow  upon  the  first  appearance  of  it.  They  were  all  naked  to  the  middle.  Some 
had  their  arms  pierced  through  with  arrows,  left  sticking  in  them.  Others  had 
them  sticking  in  their  heads,  the  blood  trickling  down  their  faces.  Some  slashed 
their  arms  with  sharp  knives,  making  the  blood  spring  out  upon  those  that  stood 
there ;  and  this  is  looked  upon  as  an  expression  of  their  zeal  for  glory.  I  am  told 
that  some  make  use  of  it  to  advance  their  love ;  and  when  they  are  near  the  win 
dow  where  their  mistress  stands  (all  the  women  in  town  being  vailed  to  see  this 
spectacle),  they  stick  another  arrow  for  her  sake,  who  gives  some  sign  of  appro 
bation  and  encouragement  to  this  gallantry.  The  whole  show  lasted  for  near 
eight  hours,  to  my  great  sorrow,  who  was  heartily  tired,  though  I  was  in  the 


ing  plate  of  Hogarth's  Industry  and  Idleness  series.  A  coach  is  mentioned  by  the  author  of 
A  Gigantick  History  (see  below,  p.  90). 

1  Letters  of  Lady  Mary  Wortley  Montagu  (ed.  Mrs.  Hale,  Boston,  1884,  p.  87  f.).  This 
letter  is  cited  by  Fairholt,  Civic  Garland,  p.  xix,  n. 

*  These  suggest  the  trade-pageants  of  the  London  guilds. 

3  Cf.  the  "  drolls  "  of  the  London  civic  shows,  and  the  earlier  "  devils  "  or  "  wild-men." 


88  ENGLISH  PAGEANTRY 

house  of  the  widow  of  the  captain-pasha  (admiral),  who  refreshed  me  with  coffee, 
sweetmeats,  sherbet,  etc.,  with  all  possible  civility." 

The  trade-pageantry  has  much  in  common  with  the  London  civic  shows;  it 
is  interesting  as  an  example  of  a  parallel  development,  if  nothing  more.  Lady 
Mary's  failure  to  suggest  the  obvious  likeness,  may  be  due  to  her  unfamiliarity 
with  the  pageantry  of  her  own  capital;  we  often  find  things  worthy  of  notice 
abroad  which  at  home  we  ignore. 

We  have  mentioned  1  the  mayor's  precepts  against  squibs  in  these  early  years 
of  this  century;  they  are  important  only  as  suggesting  pageantry.  In  1721,  the 
Goldsmiths  went  to  Westminster  by  water; 2  in  1722,  the  Masons  were  at  some 
expense  for  the  Lord  Mayor's  Day  dinner;3  on  24  October,  1727,  "  the  Right 
Honourable  the  Lord  Mayor  Elect  is  desired  to  provide  a  New  Crimson  Velvet 
Gown  at  the  Charge  of  this  City  to  be  wore  on  the  Lord  Mayors  Day  when  their 
Majesties  Honour  this  City  with  their  presence  with  the  Royal  Family  at  Dinner 
and  that  the  same  be  preserved  for  the  use  of  this  city  on  the  like  publick 
Occasions."  4 

1727  —  ROYALTY  IN  THE  CITY 

On  30  October,  Sir  Edward  Becher,  Mayor-elect,  with  the  late  Lord  Mayor, 
Aldermen,  and  Sheriffs  went,  in  the  City  Barge,  to  Westminster  and  back. 
They  progressed  from  Blackfriars  to  the  Guildhall  "  with  the  usual  solemnity." 
The  royal  family  came  to  Cheapside  about  three  in  the  afternoon,  and  saw  the 
procession  from  a  balcony  near  Bow  Church.5  They  then  went  to  Guildhall, 
where  they  were  received  by  the  Mayor  and  other  city  officials.  The  banquet 
on  this  occasion  cost  £4889,  4$.6 


1  See  above,  p.  14,  n.  i. 

2  But  there  is  no  mention  of  pageants  in  the  extract  from  their  records  in  Prideaux,  ii, 
p.  201. 

3  See  Conder,  p.  258. 

4  Repertory  cxxxi,  p.  459.    Fairholt,  pt.  i,  p.  133,  records  that  the  King,  Queen,  and  prin 
cesses  witnessed  the  procession  this  year  from  a  balcony  near  Bow  Church.    He  does  not 
name  his  authority,  which  appears  to  be  the  pamphlet  recorded  in  the  Bibliography  under 
the  name  of  George  II.    This  is  my  authority  for  the  following  paragraph;   the  account  will 
be  found  there,  pp.  45  f. 

5  Pamphlet  cited  in  the  last  note,  p.  48.    This  was  "  at  David  Barclay's  an  eminent  Linen 
Draper  (the  only  surviving  son  of  the  Apologist)  at  the  Black  Bear  against  Bow  Church."    See 
Verses  on  the  Coronation  of  their  Late  Majesties  .  .  .  October  n,  MDCCXXVTI,  &c.,  (London,  1761) 
p.  40,  n.    (This  is  bound  with  the  volume  cited  above,  in  Fairholt's  collection  in  the  Library 
of  the  Society  of  Antiquaries.)    On  Barclay,  see  below,  p.  96. 

6  An  itemized  account  may  be  found  in  the  pamphlet  cited,  pp.  54-6.    After  dinner,  the 
royal  guests  returned  to  the  Council  Chamber,  to  be  present  at  the  ball;   at  eleven  o'clock 
they  returned  in  state  to  St.  James's,  the  "  Trained  Bands  "  lining  the  streets,  and  the  houses 
being  illuminated. 


THE  LORD  MAYOR'S  SHOW  89 

We  have  referred  to  the  remarks  of  Henley  published  in  The  Lord  Mayor's 
Shew,  or  the  City  in  its  Glory,1  and  I  shall  not  repeat  the  orator's  words.  Suffice 
it  to  say,  that  pageants,  without  speeches,  seem  to  have  been  carried  through 
the  London  streets  about  1730;  and  that  the  giants  appear  to  have  graced  the 
procession. 

The  London  Magazine  for  October,  1732  2  notes  that  on  30  October,  John 
Barber,  Esq.,  the  Lord  Mayor-elect,  was  sworn  "  with  the  accustom'd  Cere 
mony."3  On  Monday,  29  October,  1733,  Sir  William  Billers,  the  Lord  Mayor- 
elect,  went  from  the  Guildhall  to  Westminster  "  with  the  usual  formalities  ";4 
but  we  can  only  surmise  what  they  were. 

No  pageants  are  mentioned  by  Lord  Mayor  Perry,  in  his  MS.  Diary; 5  but 
he  tells  of  going  to,  and  returning  from,  Westminster  by  water  in  1739;  and, 
after  landing  at  Blackfriars,  "  we  proceeded  to  Guildhall  in  Procession  of  which 
I  can  give  no  account  but  that  my  own  Company  and  the  Artillery  Company 
marched  all  the  way  before  me."  6 

A  DESCRIPTION  or  THE  LORD  MAYOR'S  DAY,  c.  1740 

The  Gigantick  History  has  already  been  referred  to,  when  we  discussed  the 
men  in  armor  and  the  giants.7  In  the  second  volume  of  this  microscopic  work, 
Book  iv  is  "  an  Account  of  My  Lord  Mayor's  Show."  I  quote  a  few  chapters.8 

Chap.  I.    Of  my  Lord  entring  upon  his  office. 

My  Lord  Mayor  is  the  grand  magistrate  of  this  great  city.  He  is  yearly  elected  on  Michael 
mas  day,  and  though  the  oldest  Alderman,  who  has  not  served  that  office,  is  usually  chosen, 
yet  that  is  at  the  electors  discretion. 

On  St.  Simon  and  Jude's  day,  the  28th  of  October,  let  it  happen  to  be  Sunday  or  any  other 
day;  the  Lord  Mayor,  Aldermen,  Sheriffs,  &c.  meet  at  Guildhall  about  twelve  a  clock:  and 
when  the  Lord  Mayor  elect  comes,  they  all  go  to  the  Hustings  court;  where,  after  the  com 
mon  crier  has  commanded  silence,  the  Town-clerk  gives  the  new  Lord  his  oath,  and  then  the 
old  Lord  Mayor  rises  up,  and  gives  the  new  his  place:  The  Chamberlain  first  presents  the 


1  Above,  p.  86,  n.  i.    This  pamphlet,  from  which  Fairholt  quotes,  may  be  found  in  the 
Brit.  Mus.  (605.  d.  20.7') ;  it  is  recorded  in  the  Bibliography  under  Henley. 

2  P.  369;  on  p.  368  the  writer  records  the  fact  that  30  October  is  the  anniversary  of  his 
majesty's  birth. 

3  A  Rural  Lay,  by  a  Gentleman  in  Norwich,  is  published,  ibid.,  for  November,  1732  (p. 
411) ;  this  is  dedicated  to  the  mayor.    "  The  Pegasus  in  Grub-Street  "  also  wrote  a  poem  to 
him  (ibid.,  p.  412) ;  but  these  verses  do  not  seem  to  have  been  recited  from  a  pageant. 

4  London  Magazine  for  October,  1733,  p.  529. 

6  Preserved  at  the  Guildhall  (MS.  15);  a  notice  of  the  receipt  of  the  Diary  by  the  Court 
of  Aldermen  may  be  found  in  Repertory  cxliii,  p.  473. 

6  MS.  cited,  p.  u.    Had  there  been  pageants,  he  would,  of  course,  have  seen  them. 

7  See  above,  vol.  i,  p.  47  f.,  and  n.  5;  p.  59;  p.  61,  and  n.  4. 

8  My  quotations  are  from  vol.  ii,  pp.  97  f.  (The  first  edition  of  this  volume  is  dated  1740; 
though  written  for,  and  dedicated  to,  children,  its  description  of  a  contemporary  Lord  Mayor's 
Show  is  probably  accurate  enough.) 


90  ENGLISH  PAGEANTRY 

sceptre  to  him,  then  the  keys  of  the  common  seal,  and  lastly  the  seal  of  the  office  of  mayoralty; 
and  the  sword  bearer  brings  him  the  sword;  all  which  the  Mayor  immediately  returns. 
This  ceremony  being  ended,  they  ride  home  in  their  coaches  to  dinner;  the  Aldermen  who 
have  been  Mayors  accompanying  the  old  Lord  Mayor,  and  those  who  have  not  served  that 
office  go  with  the  new  Lord.  The  next  morning,  the  2gth  of  October,  called  Lord  Mayor's 
Day,  they  meet  together  again,  and  proceed  as  follows. 

Chap.  II.    Of  My  Lord  Mayor's  procession  to  the  water  side. 

The  Lord  Mayor  elect  meets  as  many  of  his  brethren  the  Aldermen  as  please  to  come,  at 
Guildhall,  about  eleven  a  clock  in  the  morning;  all  being  invited:  where  having  breakfasted, 
about  12  they  set  out  in  the  following  order. 

Before  the  procession  go  officers  to  clear  the  way :  Then  the  first  in  the  cavalcade  are  the 
streamers  of  the  company  the  new  Lord  is  free  of,  born  by  sturdy  watermen:  next  come  the 
band  of  pensioners,  as  many  in  number,  they  say,  as  my  Lord  is  years  old,  headed  by  their 
captain:  and  after  them  the  gentlemen  ushers,  called  rich  batchelors,  thirty  in  number,  with 
white  staves  in  their  hands,  and  chains  of  gold  about  their  necks,  all  in  black  clothes.  Then 
comes  the  musick,  viz.  kettle  drums,  trumpets,  hautboys,  and  other  musical  instruments; 
next  the  three  banners;  the  King's  in  the  middle,  the  City's  on  the  right  hand,  and  the  Lord 
Mayor's  on  the  left.  Then  comes  the  master  of  the  city  barge  in  his  gown;  and  after  him 
the  champion,  or  master  of  defence,  with  his  drawn  sword  in  his  hand;  next  to  him  march 
thirty  or  forty  whifflers,  dress'd  up  with  ribbands,  and  white  staves  in  their  hands;  who  are 
followed  by  the  two  beadles  of  the  old  Lord's  company;  and  then  come  the  master,  wardens, 
and  livery  men  in  their  gowns.  After  them  follow  the  new  Lord's  company  in  order,  with  all 
their  attendants.  And  before  the  coach  1  come  first  the  sheriff's  officers,  then  the  city  musick, 
the  city  marshals  on  horseback,  finely  caparason'd;  the  city  artificers,  in  furr'd  gowns;  and 
next  before  the  coach,  my  Lord's  officers. 

And  so  they  proceed  to  the  end  of  King-street,  Cheapside,  where  the  old  Lord  Mayor's 
coach  falls  in  next  that  of  the  new  Lord.  The  swordbearer  is  at  the  right  side  in  the  new 
Lord's  coach,  with  the  sword  in  his  right  hand,  and  cap  of  maintenance  upon  his  head;  and 
on  the  left  side  of  the  coach,  the  common  crier,  bearing  the  mace. 

After  the  old  Lord's  coach,  come  the  Aldermen  past  the  chair,  in  their  coaches,  according 
to  seniority:  next  the  Recorder,  and  after  him  the  Aldermen  who  have  not  serv'd  Mayor: 
Then  come  the  Sheriffs,  Chamberlain,  Town-clerk,  Comptroller,  city  Remembrancer,  Com 
mon  Hunt,  city  Solicitor,  and  city  Counsel. 

Being  thus  marshalled,  they  proceed  with  the  greatest  uniformity  to  the  water  side;  and 
at  the  Three  Cranes  stairs  they  embark  on  board  their  state  barge. 

Chap.  III.    Of  the  procession  by  water,  b°c. 

The  barge  being  well  provided  with  all  things  fitting  for  the  voyage,  the  cockswain  takes 
the  helm,  and  the  bargemen  their  oars,  and  so  set  forward  towards  Westminster;  attended 
by  a  great  number  of  the  city  companies  in  their  barges,  all  with  ensigns,  streamers,  &°c.  dis 
play 'd;  musick  playing,  and  thousands  of  boats  crowded  with  people,  to  see  this  gallant 
show;  being  all  the  way  saluted  with  a  discharge  of  the  great  cannon  from  the  wharfs,  and 
batteries  on  both  sides  the  river,  with  a  '  God  send  the  ship  a  good  voyage,  and  bless  the  Lord 
Mayor,  and  his  honourable  company.'  And,  if  wind  and  tide  are  not  too  boisterous,  in  about 
one  hour  they  reach  Westminster  stairs;  where  they  are  receiv'd  by  a  large  body  of  city 
grenadiers,  who  fire  a  volley  to  welcome  their  landing. 

Then  they  walk  to  Westminster  hall,  where  the  new  Lord  Mayor  is  shewn  the  several 
courts;  and  having  paid  his  respects  to  the  Judges,  &c.  then  sitting,  he  is  sworn,  according 


The  mayor  is  supposed  to  have  ridden  in  a  coach  after  1711;  see  above,  p.  86  and  n.  4. 


THE  LORD  MAYOR'S  SHOW  91 

to  custom,  before  the  Barons  of  the  Exchequer.  Then  they  go  round  the  hall  again,  and  invite 
the  Lord  Chancellor  and  Judges  of  the  several  courts  to  his  Lordship's  feast.  This  being 
ended,  they  return  back  to  their  barge;  and  are  again  saluted  in  their  passage  with  a  dis 
charge  from  the  great  guns;  and  attended  by  several  companies  in  their  barges,  with  their 
streamers,  banners,  musick,  &c.  as  in  coming.  And  about  three  or  four  a  clock  my  Lord 
lands,  generally  at  Blackfriars  stairs;  where  another  large  body  of  the  honourable  artillery 
company  receive  him  and  his  attendants,  and  give  them  three  vollies. 

Chap. IV.    Of  the  Procession  to  Guildhall. 

From  Blackfriars  stairs  they  commonly  proceed  up  the  Ditch-side  in  their  coaches  to 
Ludgate  hill;  where  the  Nobility,  Judges,  6-c.  who  are  invited  to  dine  with  my  Lord,  join 
the  procession:  the  artillery  company,  his  Lordship's  company,  &°c.  marching  before.  And 
thus  this  solemn,  magnificent,  and  grand  procession  is  conducted  with  great  regularity  thro* 
the  city  to  Guildhall,  amidst  thousands  of  men,  women  and  children,  who  fill  the  balconies 
and  windows,  and  line  both  sides  of  the  streets,  from  the  landing  place,  all  up  the  Ditch-side, 
Ludgate  hill  and  street,  St.  Paul's  churchyard,  Cheapside  and  King-street,  to  Guildhall. 

When  his  Lordship  comes  near  the  hall,  the  commanding  officers  of  the  artillery  company 
line  both  sides  of  the  way,  till  my  Lord,  the  Nobility,  Judges  and  all  the  great  personages 
who  attend  this  grand  show,  enter  the  hall.1 

If  we  may  regard  this  description  as  accurate  —  and  I  do  not  see  why  we 
may  not  —  it  is  clear  that  by  the  middle  of  the  eighteenth  century  these  shows 
had  but  one  pageantic  figure  —  the  "  armed  man  "  -  who  may  have  a  chivalric 
origin  stimulated  by  his  applicability  to  the  Armourers',  or  even  Ironmongers', 
Guild.2  We  may  recall  that,  in  1700,  Walworth  was  accompanied  by  several  of 
his  aldermen,  in  armor;  that  in  1681,  the  seven  champions  of  Christendom  were 
shown,  and  that  Saints  Andrew  and  George  appeared  in  1609.  These  are  ex 
amples  of  the  pageantic  adaptation  of  an  older  figure,  which  survived  well  into 
the  nineteenth  century;  by  this  time,  he  had  become  reduced  to  an  "  armed 
man,"  with  no  glamour  of  chivalry,  history,  or  legend  thrown  about  him. 

THE  SHOW  OF  1740 

No  mention  is  made  either  of  pageants  or  of  Sir  William  Walworth  in  the 
account  of  the  mayoralty  procession  which  appeared  in  the  London  Daily  Post 
of  30  October,  I740.3  An  account  of  this  procession  may  also  be  found  in  the 

1  Chapter  V  of  this  book  deals  with  the  feast;  Chapter  VI  —  Of  the  City  Companies  that 
grace  my  Lord's  show  —  makes  no  mention  of  pageants,  but  states  that  "  some  companies 
have  stands  built  along  the  sides  of  the  streets  through  which  my  Lord  passes;   where  they 
seat  themselves  in  order,  and  pay  their  respects  to  his  Lordship,  the  Aldermen,  6*c.  as  they 
come  by."    (Op.  «'/.,  ii,  pp.  121  f.).    [The  seventh  chapter,  dealing  with  The  Man  in  Armour, 
has  already  been  quoted  at  length;  see  above,  vol.  i,  p.  48.] 

2  There  may  be  a  hint  of  the  older  St.  George  and  similar  champion-figures  in  this  char 
acter,  as  well  as  of  the  militia,  who  go  back  to  the  older  "  marching  watch."    Cf.  the  "  giant- 
champion  "  of  1432  (above,  vol.  i,  p.  143,  and  n.  6)  and  the  discussion  concerning  the  rela- 
lationship  of  these  figures  (above,  vol.  i,  p.  48,  and  n.  2). 

3  Herbert,  ii,  p.  51,  cites  under  1740  the  same  passage  from  the  Post-Boy  which  Fairholt 
cites  under  1700.    This  is,  evidently,  a  misprint  or  oversight  on  Herbert's  part.    I  can  find  no 


92  ENGLISH  PAGEANTRY 

Diary  of  Richard  Hoare,1  who  says:  "  .  .  .  what  added  magnificence  to  this 
day's  shew  was,  that  his  lordship's  coach  was  drawn  by  six  horses,  adorned  with 
grand  harnesses,  ribbons,  &c.  a  sight  never  seen  before  on  this  occasion.  .  .  My 
late  Lord  Mayor  chose  to  go  privately  in  his  coach  by  land  to  Westminster, 
where  we  met  him  in  our  barge,  and  after  having  paid  our  compliments  to  the 
several  Courts  in  the  hall,  and  passed  through  the  formalities  at  the  Exchequer 
Court,  we  got  into  our  barge  again  by  two  o'clock;  my  late  Lord  Mayor  return 
ing  back  by  himself  in  his  coach  as  he  came. 

"  But  it  so  happened,  that  by  the  carelessness  of  our  watermen,  while  we 
were  in  the  hall,  the  tide  had  fell  so  low  as  to  leave  the  barge  aground,  and  it 
was  .  .  .  past  four  o'clock  before  we  arrived  at  Guildhall;  our  procession  both 
by  water  and  land  being  attended  by  the  usual  concourse  of  people." 

The  mayor's  notice,  making  the  arrangements  for  this  show,  may  be  found 
in  the  London  Evening-Post,  (from  Saturday,  25  October,  to  Tuesday,  28  October, 
1740,  no.  2022).  It  reads: 

Salter,  Mayor. 

Tuesday  the  2ist  Day  of  October,  1740,  and  in  the  Fourteenth  year  of  the  Reign  of  King 
George  the  Second,  of  Great  Britain,  &c. 

It  is  order'd,  That  the  two  Marshals  of  this  City  do  take  Care  to  give  Notice  to  the  several 
Constables  of  the  Wards  of  Bread  street,  Castle-Baynard,  Cheap,  Cordwainer,  Cripplegate 
Within,  Farringdon  Within,  Farringdon  Without,  and  Vintry,  through  which  the  Procession 
is  to  pass  on  the  next  Lord  Mayor's-Day,  that  they  take  effectual  Care  to  obey  the  Precept 
sent  for  a  Double  Watch  and  Ward  of  able  Men  well  Weapon'd,  to  be  kept  on  that  Day;  and 
that  they  dispose  their  said  Watch  at  such  Places,  and  in  such  Manner,  that  the  publick 
Streets  thro'  which  the  said  Solemnities  are  to  pass  be  kept  free  and  clear  from  all  Obstruc 
tions  or  Hindrances  to  the  said  Procession;  and  that  they  do  not  permit  any  Cart,  Dray  or 
Coach  to  stand  in  the  said  publick  Streets  thro'  which  the  said  Procession  is  to  pass;  and  if 
any  Carman,  Drayman  or  Coachman  refuse  to  remove  out  of  the  said  Streets,  that  they 
carry  such  Carman,  Drayman,  or  Coachman  to  one  of  the  Compters,  and  the  Cart,  Dray  or 
Coach  to  the  Greenyard,  that  they  may  be  prosecuted  for  such  their  Offences;  and  they  are 
to  take  especial  Care  that  no  Hackney-Coach,  Cart  or  Dray  be  permitted  to  come  into  any 
of  the  said  publick  Streets  thro'  which  the  Procession  is  to  pass,  between  Fetter-lane  End  in 
Fleet-street  and  Stocks-Market,  after  Twelve  o'Clock  at  Noon  on  that  Day;  and  the  said 
Marshals  are  to  take  especial  Care  that  the  Passage  down  Queen-street  to  the  Three  Crane 
Stairs,  be  kept  free  and  clear  from  all  Coaches,  Carts  and  other  Hindrances,  so  that  the  Lord 
Mayor,  Aldermen,  and  others  in  the  Procession,  may  pass  in  their  Coaches,  without  any  Ob 
struction,  to  the  Water-side;  and  that  they  cause  the  said  Coaches  to  go  in  Order  down  one 
side  of  Queen-street  to  the  said  Stairs;  and  that  as  soon  as  his  Lordship  is  set  down  there, 
his  Coach  to  return  up  Queen-street  again,  and  the  other  Coaches  to  do  the  like  in  Succession, 
so  that  all  the  Aldermen,  and  others,  may  be  set  down  as  near  as  possible  to  the  said  Stairs; 
and  it  is  order'd,  that  a  Copy  hereof  be  publish 'd  in  some  of  the  Daily  Papers.2 

mention,  among  contemporary  accounts,  of  the  presence  of  Wai  worth  or  Wat  Tyler  in  this 
show.  Cf.  Fairholt,  pt.  i,  p.  130. 

1  Mentioned  in  the  Bibliography;  my  extract  is  taken  from  p.  33. 

2  Cf.  Repertory  cxlv,  p.  403,  where  this  notice  is  written;  the  last  words  there  read  "  some 
of  the  publick  daily  papers." 


THE  LORD  MAYOR'S  SHOW  93 

The  order  of  procession  on  the  occasion  of  the  inauguration  of  Sir  Robert 
Godschall,  Ironmonger,  in  1741,  is  given  by  Nicholl.1  There  were,  however, 
no  pageants  on  this  occasion.  A  picture  of  the  "  Lord  Mayor  and  the  Livery 
Companies  on  their  Way  to  Westminster  in  1750,"  from  "  a  picture  belonging 
to  the  Corporation  of  London,  hanging  in  the  Guildhall  Art  Gallery,"  may  be 
found  in  Stewart's  History  of  the  Gold  and  Silver  Wyre-Drawers.2 

1751  —  THE  ALTERATION  OF  LORD  MAYOR'S  DAY  TO  9  NOVEMBER 

In  1751,  at  the  alteration  of  the  style,  the  Lord  Mayor's  Day,  which  up  to 
that  time  had  fallen  regularly  on  29  October,  was  changed  to  9  November,  the 
present  date  unless  the  ninth  happens  to  fall  on  Sunday.3 

1757  —  THE  LORD  MAYOR'S  COACH 

The  present  Lord  Mayor's  Coach —  almost  entirely  rebuilt  several  times,  as 
it  has  been,  at  enormous  expense — was  built  in  I757.4  On  7  July,  1758,  £860 
were  paid  as  "  consideration  money  "  for  the  coach — every  Alderman  paid  £60, 
and  the  mayor  £100,  to  the  Coach  Fund.  In  1764,  £227,  is.  6d.  were  spent  on 
the  coach;  and  the  next  year,  one  Hutchinson  agreed  to  mend  the  paint  of  the 
body,  and  paint  the  coat-of-arms,  and  new  gild,  "  as  at  the  first,"  the  body  and 
carriage,  for  £80,  to  make  a  new  set  of  wheels  for  £20,  and  other  repairs  for  £130 
to  £150.  In  1768,  £103,  45.  were  paid  to  the  Coachmaker  for  work  done  to  the 
coach;  and  in  1773,  £279,  105.  were  paid  to  the  Coachmaker — the  itemized 
bills  are  in  the  Guildhall  Records  Office,  where  there  are  many  others  for  vari 
ous  years.  Among  these  papers  is  a  letter  from  Berry  &  Barker,  the  coach- 


1  Hist.  Ironmongers,  p.  345. 

2  The  History  of  the  Worshipful  Company  of  Gold  and  Silver  Wyre-Drawers  .  .  .  Compiled 
by  Horace  Stewart  (Illustrated).    [London,  1891],  p.  93. 

3  Cf.  on  this  subject,  Beaven,  ii,  p.  xxviii;  the  Handbook  of  Ceremonials ,  &c.  for  the  Lord 
Mayor,  Aldermen  and  other  Corporation  officers  (London,  1906)  p.  24,  n.  i,  citing  24  Geo.  II, 
c.  48,  sec.  ii ;  the  change  is  recorded  by  Fairholt,  pt.  i,  p.  133,  —  he  dates  it  1752;  cf.  Hone, 
p.  261. 

Beaven,  loc.  cit.,  gives  various  electoral  and  inaugural  dates  of  mayors;  since  1546  the 
election  has  been  on  Michaelmas  Day  (29  September). 

4  MS.  Agreement  for  the  building  of  the  coach,  kept  in  the  custody  of  the  London  Town 
Clerk's  office.    Many  of  the  following  items  come  from  bills  preserved  in  the  Guildhall  Record 
Office,  in  the  custody  of  the  Town  Clerk  of  the  City  of  London.    A  brief  description  of  the 
coach  is  in  The  Illustrated  News  of  the  World,  13  November,  1858,  p.  317;   cf.  also  Fairholt, 
pt.  i,  pp.  135  f. 

Fairholt,  (p.  136)  says  that  the  original  cost  of  the  coach  was  £1065,  35.  Cipriani,  who 
painted  the  allegorical  panels  on  it,  was  the  artist  who  decorated  the  State  Coach  used  by 
King  George  V  and  Queen  Mary  at  their  coronation  in  1911;  this  coach,  and  the  panels,  are 
pictured  in  color  in  the  supplement  of  the  Illustrated  London  News  for  i  July,  1911,  following 
p.  33.  Fairholt,  pt.  i,  p.  135,  n.,  says  that  the  State  Coach  was  built  in  1762. 


94  ENGLISH  PAGEANTRY 

builders,  which  is  worthy  of  reproduction;   it  is  addressed  "  To  Samuel  Plumb, 
Esqr.  No.  23.  Foster  Lane,"  and  reads  as  follows: 

Sr.  To-morrow  being  the  day  on  which  our  affair  with  regard  to  the  State  coach  will  in 
all  Probability  be  determin'd;  humbly  beg  leave  to  Entreat  your  Concurrence  with  those 
Gentlemen  who  sensible  of  the  hardships  we  have  laboured  under  are  disposed  of  relieving 
us  as  much  as  in  their  power. 

It  is  not  only  our  Premier  loss  in  the  building  of  it,  is  a  hardship  but  the  misfortune  we 
labour  under  of  having  (in  the  Opinion  of  a  few)  overcharged  some  articles  which  we  have 
always  been  ready  to  answer  to  and  have  had  Mr.  Pinnock  a  Proper  Judge,  who  has  been 
ready  for  sometime  past  to  answer  any  Taxation  which  any  Gentleman  or  other  might  please 
to  make. 

Things  have  been  in  this  Situation  for  three  years  past,  and  the  account  of  course  un 
liquidated,  if  the  latter  was  all  we  suffer'd  woud  chearfully  sustain  it,  and  scarce  think  it 
hard  to  wait  'till  the  Bank  was  able  to  Assist  us. 

But  to  loose  (sic)  the  honour  we  have  so  long  had  of  doing  up  and  taking  care  of  the  Coach 
and  unmerited  lay  (sic)  under  the  Calumny  of  imposition  is  realy  Excessive  hard. 

Nought  has  been  spared,  (we  are  sure)  to  deserve  a  Continuance,  especially  if  it  is  con 
sidered  it  was  our  Resolution  to  finish  it  to  the  Satisfaction  of  the  Gentlemen  notwithstand 
ing  we  knew  the  Consequences  woud  be  considerable  to  us  more  even  than  £200. 

We  built  at  no  small  Expence  a  Proper  place  of  reception  for  it  and  provided  every  requi 
site  to  do  it  up  annually,  which  we  may  boldly  assert  we  have  it  in  our  power  to  do  cheaper 
&  better  than  any  of  the  Profession  (Partiality  to  any  particular  excepted).  —  We  purchased 
at  no  small  Expence  a  temporary  State  Coach  new  Gilt  &  decorated  the  same,  submitting 
the  Charge  of  the  use  of  it  to  the  Worshipful  Aldermen:  and  having  had  the  honour  of  giving 
Satisfaction  to  Every  Gentleman  'till  the  Mayoralty  of  the  late  George  Nelson  Esqr.  thought 
with  Submission  our  fate  the  harder,  as  no  other  Complaint  was  made  than  the  high  charge 
of  our  bills,  which  on  notice  given  were  ready  to  submit  to  Arbitration  and  had  the  above 
mentioned  Mr.  Pinnock  ready  to  attend  any  summons  on  that  account. 

This  worthy  Sir  being  realy  the  case  most  humbly  beg  you  will  take  into  Consideration 
&  be  assured  that  nothing  in  our  power  shall  be  ever  wanting  to  be  deserving  of  the  continu 
ance  the  worthy  Aldermen  have  hitherto  thought  Proper  to  confer  on 

Sr.,  your  very  humble  and  most 

Obliged  Servts. 

BERRY  &  BARKER. 

Leather  Lane  21  September  1767. 

1761  —  A  REVIVAL  OF  PAGEANTS 

Unpageantic  processions  continued  until  1761,  when  the  Court  of  Common 
Council  recommended  pageants  for  the  entertainment  of  their  Majesties  on 
Lord  Mayor's  Day.1  A  full  account  of  the  procession  on  9  November,  1761,  may 


1  Hone,  p.  261 ;  he  continues  (writing  in  1823) :  "  Although  such  revivals  are  inexpedient, 
yet,  surely,  means  may  be  devised  for  improving  the  appearance  of  the  present  procession, 
without  further  expenditure  from  the  city  funds,  or  interfering  with  the  public  appropriation 
of  the  allowance  for  the  support  of  the  civic  dignity." 

The  pamphlet  describing  Taubman's  Show  for  1689,  entitled  London's  Great  Jubilee,  was 
reprinted  in  1761,  "for  the  perusal  of  the  several  Companies  of  London,  agreeable  to  the 


o 

w 


H 


THE  LORD  MAYOR'S  SHOW  95 

be  found  in  the  contemporary  Gentleman's  Magazine l  and  London  Magazine 
—  from  which  last,  because  it  is  the  rarer  account,  I  shall  quote:2 

I  must  own  that  I  look  upon  that  part  of  the  ceremony  .  .  .  which  is  presented  to  us 
on  the  water,  as  perhaps  equal  to  what  we  read  of  in  Holland  or  Venice.  .  .  The  skinners 
barge  was  distinguished  from  the  rest  by  the  outlandish  dresses,  in  strange  spotted  skins  and 
painted  hides,  of  their  rowers,  &c.  .  . 

Every  house,  indeed,  from  Temple-Bar  to  Guildhall,  was  crowded  from  top  to  bottom, 
and  many  had  scaffolding  besides.  Carpets  and  rich  hangings  were  hung  out  on  the  fronts 
all  the  way  along.  .  .  As  the  royal  family  passed  by  our  window,  I  counted  between  twenty 
and  thirty  coaches  belonging  to  them  and  their  attendants,  besides  those  of  the  foreign  am 
bassadors,  officers  of  state,  and  the  principal  nobility.  .  .  .  What  was  most  remarkable,  were 
the  prodigious  acclamations  and  tokens  of  affection  shewn  by  the  populace  to  Mr.  Pitt,  who 
came  in  his  chariot,  accompanied  by  Earl  Temple.  At  every  stop  the  mob  clung  about  every 
part  of  the  vehicle,  hung  upon  the  wheels,  hugged  his  footmen,  and  even  kissed  his  horses.  . . . 

I  need  not  trouble  you  with  an  account  of  the  city  procession,  (which  was  now  left  at 
liberty  to  shew  itself)  as  it  differed  very  little  from  that  which  you  and  I  saw  together,  and 
has  been  seen  for  many  years  the  same.  The  skinners,  the  ironmongers,  and  the  fishmongers 
companies,  were  the  only  companies  that  had  something  like  the  pageants  exhibited  of  old 
on  this  occasion:  But,  however  clearly  the  symbols  of  the  furred  caps  and  spotted  furr- 
dresses  of  the  skinners  company,  or  the  dolphin  and  mermaid  of  the  fishmongers,  might  be 
understood  by  the  spectators,  I  must  confess  myself  at  a  loss  how  to  interpret  the  improve 
ment  made  in  the  show  of  the  armourers  company.  Besides  the  usual  horseman  in  armour,3 
they  presented  us  with  a  figure,  standing  erect  in  a  kind  of  phaeton,  drawn  by  f<our  horses; 
this  .  .  .  represented  an  Indian  warrior,  because  he  had  a  bow  in  one  hand,  and  a  quiver  of 
arrows  flung  across  his  back.  But  what  has  this  to  do  with  the  armourers  company  ?  Or, 
are  Indian  princes  ever  carried  in  that  manner  ?  From  the  figure  of  the  youth  (whose  com 
plexion,  made  florid  with  rouge,  was  wholly  European)  one  might  rather  suppose  (as  many 
did  suppose)  he  was  meant  to  personate  Cupid,  in  allusion  to  the  intrigue  of  the  god  of  war, 
Mars,  with  his  mother  Venus,  wife  to  the  cuckold  Vulcan,  the  founder  of  armourers:  Or, 
(according  to  the  ancient  mythology)  as  some  will  have  it,  the  pageant  must  have  been 
designed  to  represent  the  chariot  of  Apollo,  i.  e.,  the  sun,  the  creator  of  all  metalline  sub 
stances,  consequently  iron.  Whichever  interpretation  is  approved  of,  there  was  certainly 


Recommendation  of  ...  Sir  Matthew  Blakiston,  Knt,  Lord  Mayor,  and  the  Court  of  Common 
Council,  held  on  Saturday  the  3d  of  October,  1761;  "  this  reprint  —  recorded  in  the  Bibliog 
raphy,  s.  v.  Taubman,  sub  anno  1689  —  is  in  the  Soc.  Antiq.  and  Brit.  Mus.  libraries.  Cf. 
The  Guide  to  the  Lord  Mayor's  Show  (London,  1761). 

1  Gent.  Mag.,  xxxi,  p.  533  f.,  —  for  November,  1761,  —  cited  by  J.  G.  Nichols,  p.  87. 
Cf.  Fairholt,  pt.  i,  p.  133  f. 

2  Lond.  Mag.,  xxx,  pp.  597-601,  —  for  November,  1761,  —  under  the  title:    "Extract 
of  a  Letter  from  a  Gentleman  to  his  Friend  in  the  Country,  containing  a  full  and  circumstantial 
Detail  of  many  Particulars,  concerning  My  Lord  Mayor's  Show,  and  the  Entertainment  at 
Guildhall,  &c." 

3  Cf.  the  1761  Guide  to  the  Lord  Mayor's  Show,  which  gives  the  Order  of  Procession  of  the 
Mayor  on  his  Landing  at  Blackfriars  through  the  City  to  Guildhall:  it  includes  (p.  8),  "  Ar 
mourers  and  Braziers  Company,  preceded  by  a  Man  on  Horseback  in  a  complete  Suit  of 
Armour,  with  a  Plume  of  Feathers  on  his  Head  and  proper  Attendants."    This  is  no  new 
figure;  here,  however,  the  trade-symbolism  is  more  than  usually  marked. 


96  ENGLISH  PAGEANTRY 

no  occasion  for  the  burntcork  strait  stroke  from  beneath  the  youth's  nostrils  on  the  upper 
lip,  and  the  serpentine  line  of  beauty  by  the  same  pencilling  on  each  corner  of  his  lower  one, 
to  represent  whiskers;  as  both  Cupid  and  Apollo  have  always  been  described  without  any 
beard  at  all. . . 

The  account  in  the  Gentleman's  Magazine  before  referred  to 1  gives  other  de 
tails  : 

The  show  on  the  water  was  very  brilliant.  .  .  .  The  state-coach  was  drawn  by  six  beautiful 
iron-grey  horses  .  .  .  and  all  the  companies  made  a  very  grand  appearance.  .  .  . 

The  former  [armourers  and  braziers]  were  marked  by  an  archer  riding  erect  in  his  car, 
having  his  bow  in  his  left  hand,  and  his  quiver  and  arrows  hanging  behind  his  left  shoulder, 
and  a  man  in  compleat  armour.  The  skinners  were  distinguished  by  seven  of  their  company 
being  dressed  in  fur,  having  their  skins  painted  in  the  form  of  Indian  princes.  The  fish 
mongers  pageants  consisted  of  a  statue  of  St.  Peter2  finely  gilt,  a  dolphin,  two  mairmaids, 
and  two  sea-horses,  which  had  a  very  pleasing  effect.  But  the  disagreeable  circumstance  of 
several  livery  companies  waiting  upwards  of  two  hours  in  Temple  lane,  before  the  king,  &c. 
could  get  by,  made  it  almost  dark  before  the  lord  mayor  could  pass  the  king  in  Cheapside. 

The  1761  Guide3  informs  us  that  the  king  and  queen  were  entertained  by 
David  Barclay,  who  had  received  George  II  in  1727.  "It  has  been  an  antient 
Custom  (which  their  Majesties  upon  this  Occasion  are  most  graciously  pleased  to 
keep  up)  to  honour  the  City  with  their  Presence  the  first  Show  after  their  coming 
to  the  Crown;  and  not  only  to  see  the  Procession  at  a  House  in  Cheapside,  but 
afterwards  to  dine  with  the  Lord  Mayor  at  the  Guildhall."  And  in  a  note,  "  The 
Kings  and  Queens  who  have  honoured  the  City  with  their  Presence  upon  this 
Occasion,  have  for  many  years  been  entertained  at  a  Linendraper's  in  Cheapside, 
opposite  Bow  Church,  now  in  the  Occupation  of  Mr.  David  Barclay,  a  very  wealthy 
and  respectable  Tradesman,  and  one  of  the  People  called  Quakers,  who  with  his 
Father-in-law  (whom  he  succeeded  in  the  House  and  Business)  have  entertained 
King  William,  Queen  Mary,  Queen  Anne,  King  George  I.,  King  George  II.  and 
Queen  Caroline;  and  will  on  this  happy  Day  entertain  their  present  Majesties 
King  George  III.  and  Queen  Charlotte;  an  Honour  that  few  private  Persons  can 
boast  off  (sic}." 

THE  LATER  EIGHTEENTH  CENTURY 

After  this  occasion,  the  Lord  Mayor's  Show  seems  to  have  lost  pageantry  for 
a  while;  in  1762,  (2  Geo.  III.)  "  a  committee  was  appointed  to  consider  a  recom 
mendation  of  the  Common  Council  to  provide  pageants  for  the  ensuing  Lord 

1  Above,  p.  95,  n.  i.    This,  I  may  add,  is  printed  (without  reference  to  the  Gent.  Mag.) 
in  The  Citizen's  Pocket  Chronicle:   containing  a  Digested  View  of  the  History,  Antiquity,  and 
Temporal  Government  of  the  City  of  London  .  .  .  for  the  use  of  Citizens,  Merchants,  Lawyers,  and 
Strangers,  (London,  1827),  p.  335. 

2  Fairholt,  pt.  i,  p.  134,  notes  "  the  patron  Saint  of  the  Company." 

3  Before  referred  to,  (p.  95,  n.  3).   The  extract  is  on  p.  12  of  the  Guide  to  the  Lord  Mayor's 
Show.    On  Barclay,  cf.  above,  p.  88,  n.  5. 


THE  LORD  MAYOR'S  SHOW  97 

Mayor's  day,  when  the  Ironmongers  resolved  to  adopt  the  course  pursued  by 
the  other  Companies;  and  no  pageants  were  provided."  In  November,  1768, 
a  committee  of  the  Merchant-Taylors'  Company  "  taking  into  consideration 
the  lord  mayor's  precept  to  attend  the  King  of  Denmark,  on  Friday  next,  directed 
that  there  should  be  no  breakfast  at  the  hall,  nor  pipes  nor  tobacco,  in  the  barge, 
as  usual,  on  Lord  Mayor's  Day."  2 

There  is  a  description  of  Lord  Mayor's  Day  in  the  Gentleman's  Magazine  for 
November,  1773;  here  we  read  that  "  the  procession  by  water  was  as  usual,  but 
rather  tedious,  as  the  tide  was  contrary.  The  ceremonies  at  Westminster-Hall 
being  gone  through  in  the  customary  manner,  the  company  returned  by  water 
to  Black-Friars-bridge,  where  the  Lord-Mayor  landed  at  about  three  o'clock, 
and  proceeded  in  solemn  state  to  Guildhall.  .  .  During  the  absence  of  the  Lord 
Mayor,  such  of  the  city  companies  as  have  not  barges  paraded  the  streets  in  the 
accustomed  manner;  and  the  man  in  armour  [was]  exhibited  to  the  delight  of 
the  little  masters  and  misses,  and  the  astonishment  of  many  a  gaping  rustic  . . ."  3 

1783  —  A  PANTOMIME  ON  THE  LORD  MAYOR'S  SHOW 

What  appears  to  be  a  forerunner  of  the  tableau  vivant  —  which  is  related  to 
our  modern  pageantry,  particularly  when  the  living  pictures  were  historical  — 
is  found  in  connection  with  an  "  operetta  "  produced  at  the  Theatre-Royal  in 
Co  vent-Garden  in  January,  I783.4  In  the  General  Evening  Post,  we  read: 

On  Saturday  evening  the  Manager  of  Co  vent-Garden  Theatre  afforded  a  fresh  instance 
of  his  attention  to  the  publick,  and  his  liberality  in  the  mode  of  expressing  his  thanks  for 
favours  received.  The  Pantomime  called  Lord  Mayor's  Day,  (having  been  rather  hastily 
contrived,)  when  first  performed,  though  allowed  to  be  pleasant,  was  thought  a  more  meagre 
entertainment  than  those  previously  brought  out  at  Covent-Garden  Theatre,  in  which  Harle 
quin  had  been  the  hero.  In  order  to  remove  the  objection  immediately,  half-price  was  taken 
on  the  second  night  of  representation;  and  now,  effectually  to  do  it  away,  the  pantomime 


1  Nicholl,  p.  347 ;  he  wrongly  dates  this  1761,  when  we  have  seen  that  there  were  pageants 
provided  by  three  companies;   "  2  George  III  "  was  1762.    (The  pageantry  of  1689  was  not 
reproduced  in  1761.) 

2  Herbert,  ii,  p.  411,  from  entries  in   the   Merchant-Taylor's  books.     (The  italics  are 
Herbert's.) 

3  Gent.  Mag.,  xliii,  pp.  577  f.;  this  is  referred  to  by  J.  G.  Nichols,  p.  121.    There  is  nothing 
to  tell  us  whether  there  was  pageantry  or  not,  beyond  the  pageantic  figure  of  the  "  armed 
man."    "  As  usual  "  and  "  in  the  accustomed  manner  "  are  non-committal. 

4  For  accounts  of  this,  see  the  [London]  General  Evening  Post,  18-21  January,  1783;   the 
British  Magazine  and  Review  (1783)  pp.  60  f.;  and  a  small  pamphlet,  preserved  in  the  Guild 
hall  Library,  which  gives  the  "  Songs,  Duets,  &c.  in  the  new  pantomime  called  Lord  Mayor's 
Day;    or,  a  Flight  from  Lapland,  as  performed  at  the  Theatre-Royal  in  Covent-Garden." 
This  is  an  operetta,  the  characters  in  which  are  Sailor,  Gobble,  Polly,  and  Aerial  Spirit.    It 
is  followed  by  "  A  Grand  Historical  Procession  of  the  Several  Companies  with  their  respective 
Pageants,  And  the  Chief  Magistrates  belonging  to  the  City  of  London,  from  its  Foundation." 


98  ENGLISH  PAGEANTRY 

has  been  enriched  with  the  addition  of  a  procession  and  pageant,1  of  a  nature  equally  new, 
shewy,  and  apposite  to  the  occasion.  When  processions  are  added  to  serious  performances, 
we  consider  them  as  contemptible  adjuncts  to  the  drama,  and  always  suspect,  that  the  author 
means  to  dazzle  our  eyes  with  the  glare  of  pageantry,  because  he  is  conscious  he  cannot  satisfy 
our  understandings  with  the  plot,  conduct  and  characters  of  his  play;  but  when  processions 
close  a  pantomime,  our  sensations  are  extremely  different;  pageantry  appears  then  in  right 
place,  and  is  well  employed  in  giving  a  striking  termination  to  an  entertainment,  of  which 
shew  is  one  of  the  most  essential  properties.  The  procession  of  Saturday  evening  (as  we  have 
before  observed)  was  perfectly  in  character  for  the  occasion.  .  . 

Then  follows  the  playbill,  which  we  shall  quote  from  the  Guildhall  pamphlet : 

1.  A  TROJAN  bearing  a  scroll  with  'Troynovanl.'    The  City  so  called  by  Brute  (the  lineal 
descendant  of  Eneas)  who  first  built  it. 

2.  BRUTE  with  Label,  A.  M.  2855  —  The  year  of  the  city's  foundation. 

3.  A  BRITON  with  Label '  Lundain  '  —  The  city  so  called  from  '  Llan  Dian.'    The  Temple 
of  Diana. 

4.  A  BRITON  bearing  a  Scroll  with  '  Caire  Lud.'  —  The  city  so  called  by  King  Lud,  who 
in  the  year  3915  increased  the  city  and  built  therein,  to  commemorate  his  own  honor,  the 
gate  to  this  day  called  after  him  —  Ludgate. 

5.  KING  LUD,  A.  M.  3915. 

6.  \  „       c        /  Androgeus. 
}  Two  Sons  <  _. 

7.  J  (  Theomanticus. 

These  were  sons  to  King  Lud,  and  would  have  inherited  his  crown,  but  not  being  of  age  to 
govern  at  the  death  of  their  father,  their  uncle  Cassibelan  mounted  the  regal  seat,  in  the  8th 
year  of  whose  reign,  Julius  Caesar  landed  in  Britain,  and  after  numbers  of  battles  between 
the  Romans  and  native  Britons,  Cassibelan  paid  tribute  to  Rome. 


Two  ANTIENT  BRITONS. 
9- 
10.  A  ROMAN  with  a  Scroll '  Augusta.'  —  The  city  so  called  in  Julius  Caesar's  time. 

>  Two  LICTORS  with  Fasces. 

12.  J 

13.  PREFECT.    A.  D.  44. 

I4'  >  Two  ROMANS  bearing  The  Eagle  and  S.  P.  Q.  R. 
5'  J 

1 6.  A  SAXON  with  a  Scroll '  Londonceaster.'  —  The  city  so  called  in  the  time  of  the  Saxons. 

17.  PORTREVE,  A.D.  654.— This  title  was  given  to  the  Chief  Magistrate  in  the  time 
of  the  Saxons. 

1 8.  A  NORMAN  with  a  Scroll '  Camera  Regia  '  —  The  city  so  calFd  in  the  time  of  William 
the  Conqueror. 

19.  GODFREY,  the  Portreve,  bearing  the  first  Charter,  A.D.  1067.  —  In  this  year,  being 
the  second  of  the  Conqueror's  reign,  he  granted  to  Godfrey  (a  Portreve)  in  conjunction  with 
William  the  Bishop  of  London  the  first  Charter,  viz.  '  William  the  King  friendly  salutes 
William  the  Bishop,  and  Godfrey  the  Portreve,  and  all  the  Burgesses  within  London,  both 
French  and  English.    And  I  declare,  that  I  grant  you  to  be  all  law-worthy,  as  you  were  in 
the  days  of  King  Edward;   and  I  grant  that  every  child  shall  be  his  father's  heir,  after  his 
father's  days;  and  I  will  not  suffer  any  person  to  do  you  wrong  —  God  keep  you.' 

20.  BAILIFF,  A.D.  1067. —  The  Chief  Magistrate,  so  called  by  the  Normans. 


1  Note  the  use  of  this  word. 


THE  LORD  MAYOR'S  SHOW  99 

21.  HENRY  FITZALWIN,  A.D.  1189.    FIRST  LORD  MAYOR  of  London. 

Mercers,  A.D.  1393  —  Mayor,  2  Aldermen,  2  Common  Councilmen,  2  Liverymen. 

Skinners,  A.D.  1325. 

Grocers,  A.D.  1344. 

Vintners,  A.D.  1340  —  Bacchus,  the  son  of  Jupiter  and  Semele  —  God  of  Wine  —  he 
planted  the  first  Vine  in  Egypt. 

Drapers,  A.D.  1438. 

Weavers,  A.D.  1 104  —  Penelope  at  her  Web.  The  daughter  of  Icarius  and  wife  of  Ulysses, 
a  princess  of  great  chastity,  who,  during  her  husband's  stay  at  the  siege  of  Troy,  when  it  was 
reported  he  was  dead,  was  addressed  by  many  suitors,  and  having  promised  to  determine 
when  she  had  finished  a  Web  of  Cloth,  to  delay  the  time,  she  undid  in  the  night  what  she  had 
finished  in  the  day,  and  so  amused  them  'till  her  husband's  return,  when  he  slew  them. 

Fishmongers,  A.D.  1537. 

Dyers,  A.D.  1472  —  Iris  in  her  Rainbow,  the  messenger  of  the  Goddess  Juno. 

Goldsmiths,  A.D.  1391. 

Armourers,  A.D.  1423. 

Merchant  Taylors,  A.D.  1469. 

Bakers,  A.D.  1307  —  Ceres,  the  goddess  who  first  taught  mankind  to  plough  and  sow, 
and  reap  and  house  their  corn. 

Haberdashers,  A.D.  1502. 

Butchers,  A.D.  1604 — An  ox  dressed  for  sacrifice. 

Sailers,  A.D.  1558. 

Sadlers,  A.D.  1281. 

Cordwainers,  A.D.  1438  —  Crispin  and  Crispianus  —  the  latter  taking  leave  of  the  former, 
he  going  to  the  wars,  and  leaving  his  brother  to  follow  the  business  of  shoe-making.  Sup 
posed  sons  of  King  Logrid  in  Maximinius's  time,  who,  seeking  their  lives,  they  were  disguised 
by  their  mother,  and  travelling  about  at  Feversham  in  Kent,  were  apprenticed  to  Robans,  a 
shoemaker.  They  afterwards  each  of  them  married  a  princess. 

Ironmongers,  A.D.  1464. 

Blacksmiths,  A.D.  1577  —  The  Cyclops  at  Work.  They  were  the  sons  of  Neptune  and 
Amphitrite,  and  assisted  Vulcan  in  forging  Jupiter's  thunderbolts. 

Woolmen,  A.D.  1511  — Bishop  Blaise,  the  inventor  of  Wool-combing. 

Musicians  —  Apollo  the  God  of  Music,  attended  by  his  Priestesses,  the  antient  Bards, 
and  Doctors  of  Music. 

[Then  follow  glees  and  dances,  in  honor  of  Music.] 

Shipwrights,  A.D.  1605  —  Noah's  Ark.    The  first  vessel  or  ship  built  by  the  art  of  man. 

Apothecaries,  A.D.  1618  —  Esculapius,  the  son  of  Apollo,  the  God  of  Health.  Chiron 
taught  him  physic.  He  was  killed  by  Jupiter  for  bringing  Hippolitus  to  life.  The  Serpent 
and  Dog  symbolical  of  the  arts  of  healing  and  physic. 

John  Norman,  A.D.  1250  —  First  Mayor  that  was  sworn  at  Westminster. 

Henry  Darcey,  A.D.  1338  —  First  Mayor  that  had  a  mace  borne  before  him. 

Henry  Picard,  A.D.  1363  —  Entertained  at  one  time  Four  Kings,  i.  e.  Edward  III.  of 
England,  John  of  France,  David  of  Scotland,  King  of  Cyprus. 

John  Philpot,  A.D.  1378  —  Hired  a  thousand  soldiers,  who  took  John  Mercer,  a  sea- 
rover,  with  all  the  ships  he  had  before  taken  from  Scarbro,'  and  fifteen  Spanish  ships  laden 
with  great  riches. 

William  Walworth,  A.D.  1381  —  Banner  with  the  City  Arms.  By  the  slaying  of  Wat 
Tyler  in  Smithfield,  delivered  the  kingdom  from  a  dangerous  insurrection,  and  was  knighted 
for  it  in  the  field. 


100  ENGLISH  PAGEANTRY 

Thomas  Knowles,  A.D.  1400  —  New-built  Guildhall,  re-edified  St.  Anthony's  church,  and 
conveyed  water  to  Ludgate  for  the  use  of  the  prisoners. 

Richard  Whiltington,  A.D.  1421 — Three  times  Mayor;  founded  the  library  of  Grey- 
Friars,  Whittington  college,  and  almshouses,  and  whose  executors  built  Newgate. 

Robert  Chichley,  A.D.  1482  —  Appointed,  that  on  his  birth-day  a  sufficient  dinner  should 
be  given  to  2400  poor  Citizens,  housekeepers,  and  also  two-pence  apiece. 
Thomas  Cook,  A.D.  1462  —  Knight  of  the  Bath. 
John  Younge,  A.D.  1466  —  Knight  Banneret. 

John  Shaw,  Mayor,  A.D.  1501  — First  entertained  the  Aldermen  and  Citizens  in  Guild 
hall. 

William  Fitzuilliams ,  A.D.  1506  —  For  his  attachment  to  Cardinal  Wolsey  in  his  fall 
(who  had  been  the  means  of  his  great  fortunes)  King  Henry  the  Eighth  knighted  him,  and 
made  him  a  Privy  Counsellor.  He  left  the  king  by  will  his  great  ship  with  all  her  tackles,  and 
his  George  set  with  diamonds,  and  collar  of  the  Garter.  At  his  death  he  was  Knight  of  the 
Garter,  Lord  Privy  Seal,  and  Chancellor  of  the  Dutchy  of  Lancaster. 

John  Allen,  A.D.  1554  —  Gave  a  rich  gold  collar  to  be  worn  by  the  Mayor,  and  500  marks 
for  a  stock  of  sea  coal. 

Thomas,  Gresham,  A.D.  1566  —  Built  the  Royal  Exchange,  and  alms-houses  for  the  poor. 
The  GRAND  PAGEANT 

A  Triumphal  Arch.  On  the  left  side,  on  a  pedestal,  is  seen  Industry:  on  the  right  Com 
merce:  over  which  are  two  symbolical  medallions.  Through  the  Arch  is  seen  The  Genius,  of 
the  City,  crowned  with  a  wreath  of  plane  tree:  in  one  hand  a  Goblet;  in  the  other,  a  branch 
full  of  little  twigs,  to  signify  increase  and  indulgence.  On  his  right  hand,1  The  Council  of  the 
City,  with  a  wreath  of  oak  on  his  head  and  the  fasces  in  his  hand,  as  tokens  of  strength  and 
civil  magistracy.  —  On  his  left  The  Warlike  Force  of  the  City,  with  his  helm  on,  and  crowned 
with  laurel,  implying  Strength  and  Conquest.  —  At  his  feet,  Thames,  the  River  God,  leaning 
on  his  urn. 

CHORUS 

London,  London,  richest,  noblest  mart, 
Seat  of  freedom,  science,  art ; 
Commerce  spreads  the  swelling  sail 
Plenty's  wafted  in  the  gale. 
Hail,  London,  great  emporium  of  the  world, 
While  Britain's  thunder  round  the  globe  is  hurl'd. 

It  makes  little  difference,  here,  that  the  history  of  this  pantomime  is  not  al 
ways  accurate;  what  is  important  for  us,  is  that  here  we  have,  in  the  form  of 
tableaux,  the  elements  of  the  earlier  Lord  Mayor's  Show.  Walworth,  and  other 
former  Mayors;  Apollo,  and  brother  gods;  Industry  and  the  Genius  of  the 
City,  have  all  appeared  in  these  triumphs.  We  have  a  union  of  civic  and  national 
history;  the  pantomime  does  not  glorify  any  one  Company  —  it  reflects  an  in 
terest  in  London's  glorious  past. 

After  giving  the  above  program,  the  critic  in  the  General  Evening  Post  con 
tinues  : 

The  personages  of  this  procession  were  all  dressed  in  the  characters  of  the  time  in  which 
they  lived,  and  before  each  of  them  a  label,  a  scroll,  or  a  pageant  was  carried,  bearing  their 


Note  that  the  Genius  is  masculine. 


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THE  LORD  MAYOR'S  SHOW 


101 


name,  or  some  allusion  of  the  poets  to  their  occupation.  The  figures  in  transparency  were  all 
painted  as  large  as  the  life,  and  had  a  most  grand  and  beautiful  effect.  The  principal  ex 
hibited  [were]  Penelope  at  her  Web,  Iris  in  her  Rainbow,  Ceres,  Crispin  and  Crispianus,  the 
Cyclops  at  Work  in  tlteir  Cave,  Apollo,  Esculapius;  and  a  Triumphal  Arch,  with  an  emblematical 
painting  in  the  centre,  proper  to  the  subject  of  the  Procession. 

The  idea  of  the  paintings  was  furnished  by  Mr.  Richards  and  Mr.  Smirk,  and  all  of  them 
executed  by  the  latter,  in  a  style  of  great  taste  and  excellence. 

The  audience  expressed  the  strongest  approbation  at  the  whole  of  the  Procession,  and  dis 
tinguished  each  of  the  transparencies  with  loud  plaudits. 

The  glee  introduced  with  so  much  applause,  is  the  composition  of  the  late  Dr.  Rogers 
(who  lived  in  1600);  the  other  airs  in  the  Pantomime  and  Procession,  are  by  Handell,  Lord 
Kelly  Abel,  Stamitz,  and  Shields,  and  have  great  merit. 

The  expense  of  preparing  this  splendid  spectacle  must  have  been  very  great,  and  the  cost 
of  continuing  its  representation  cannot  be  inconsiderable,  since  more  than  200  supernumarries 
(sic)  are  employed  to  walk  in  the  Procession. 

This  occasion  is  not,  of  course,  a  Lord  Mayor's  Show;  I  have,  however,  in 
cluded  it  here,  chronologically,  because  it  is  based  on  the  Lord  Mayor's  Show. 
For  us,  it  is  especially  important  as  marking  a  stage  between  the  civic  triumph 
and  the  historical  pageantry  of  the  United  States  —  which,  in  the  form  of 
tableaux  vivants,  antedates  the  Parkerian  pageant  of  more  recent  times.  Here, 
on  a  stage,  without  speech,  we  find  procession  and  tableau  vivant  combined; 
the  main  emphasis  is  on  civic  history,  but  there  are  suggestions  of  symbolism 
and  allegory. 

We  may  remark  that  the  symbolism  and  allegory  are  saved  for  the  "  grand 
pageant  "  at  the  end  —  mythology  and  history  dividing  the  interest  of  the  main 
part  of  the  show. 

THE  EBB-TIDE 

The  Barber-Surgeons  "  went  out  "  on  Lord  Mayor's  day  for  the  last  time  in 
1 785.*  I  have  found  few  references  to  the  Lord  Mayor's  procession  for  the  clos 
ing  years  of  this  century;  but  there  are  some  interesting  glimpses  of  the  banquet 
to  be  gleaned  from  the  MS.  Proceedings 2  of  the  Committees  for  conducting  the 
entertainments  on  this  civic  festival.  Although  not  strictly  connected  with  the 
subject,  some  of  these  items  —  hitherto  unpublished  —  may  be  included  here. 
In  1790,  the  committee  "resolved  that  a  card  of  Invitation  [to  the  dinner]  be 
sent  to  the  Right  Honble  Edmund  Burke,  Esqr."  3  The  waits  —  whose  duties 
are  not  specified — received  ten  guineas;  and  the  total  cost  of  the  celebration  — 
most  of  which  was  for  the  dinner —  was  £1055,  igs.  qd.4 

A  MS.  "  Minute  Book  "  preserved  in  the  Guildhall  Library  gives  many  de 
tails  concerning  the  procedure  on  the  Lord  Mayor's  day  during  the  last  decade 

1  See  Young,  p.  421;   and  cf.  below,  p.  125. 

2  See  the  Bibliography,  where  these  volumes  are  mentioned  under  this  head. 

3  MS.  Proceedings  for  this  year,  p.  21. 

4  Ibid.,  p.  30.   Mr.  Jenkins  seems  to  have  provided  only  the  music  for  the  ball  (ibid.,  p.  13) . 


ENGLISH  PAGEANTRY 


of  the  eighteenth  century;  there  is  no  pageantry,  in  the  strict  sense,  though  the 
water  processions  were  kept  up  regularly  during  these  years.1  On  4  October, 
1791,  "  there  being  a  sufficient  number  of  Members  present  to  form  a  Court  of 
Assistants,  tho'  no  such  Court  was  called,  the  Master  took  the  sense  of  the  Mem 
bers  present,  as  an  adjournment  from  the  last  Court  of  Assistants,  whether  the 
Company  should  go  out  in  the  usual  procession  the  ensuing  Lord  Mayor's  day, 
when  on  the  question  being  put,  the  same  was  resolved  in  the  negative."  2 

The  expenses  of  the  Lord  Mayor's  Day  celebration  in  1794,  as  recorded  in 
the  MS.  Proceeedings  of  that  year,  amounted  to  £962,  165.  jd.,  of  which  the  mayor 
paid  £481,  8s.  3!^.,  and  each  of  the  sheriffs  £240,  145  lid.  Again  no  mention  of 
pageantry  is  made;  but  the  City  Waits  contracted  "  to  provide  a  good  Band  of 
Music  to  attend  the  Lord  Mayor  and  Company  during  the  procession  by  Land 
and  Water  for  the  Sum  of  £8,  &s.  And  also  to  provide  18  Persons  to  play  in  the 
different  Parts  of  the  Hall  during  the  Ball,  and  to  continue  playing  untill  the 
Company  choose  to  leave  off  Dancing,  for  the  Sum  of  £18,  185.,  making  in  the 
whole,  £27,  6s."  3  At  the  meeting  of  the  committee  in  the  Guildhall  on  16  Octo 
ber,  1795,  "  Mr.  Jenkins  attended  and  contracted  with  the  Committee  to  pro 
vide  a  good  Band  of  Music  to  attend  the  Lord  Mayor  &  Company  during  the 
Procession  by  Land  and  Water;  and  also  to  provide  10  Persons  to  Play  in  the 
different  parts  of  the  Hall  during  the  Ball  ...  for  the  Sum  of  £27,  6s.  in  the 
whole."  4  There  is  no  mention  of  pageantry;  the  total  cost  of  the  celebration 
was£ion,  is.  3^.5 

In  1801,  "  Messrs.  Ballet  &  Nash,  City  Waits,  attended,  &  agreed  to  furnish 
8  performers  to  play  to  &  from  Westminster  for  8  Guineas,  &  18  Performers  to 
play  for  the  Dancers  in  the  several  Rooms  till  dismist  by  Committee  for  18 
Guineas."6  At  the  meeting  of  27  October,  1801,  "  Mr.  Mountague  attended, 
and  stated  to  the  Committee  that  it  was  the  wish  of  the  Lord  Mayor  that  a 
transparency  should  be  exhibited  in  the  Guildhall  on  Lord  Mayor's  day,  that 
he  the  Lord  Mayor  had  consulted  the  Sheriffs  who  said  they  should  concur  in 
anything  that  might  be  adopted  by  this  Committee. 

"  Resolved.  That  this  Committee  approve  the  design  marked  no.  2  (repre 
senting  Peace  descending  attended  by  Genii  to  bestow  her  inestimable  blessings 
on  the  Four  Quarters  of  the  World)  as  fit  for  the  transparency  that  the  same 
be  painted  by  Mr.  Smirke,7  &  that  he  be  paid  for  the  same  the  Sum  of  30  Guineas. 

1  Cf.  this  MS.,  pp.  18-28. 

2  From  the  Barber-Surgeons'  records,  cited  by  Young,  p.  235. 

3  MS.  referred  to,  fol.  6. 

4  Proceedings  for  this  year,  fol.  4.  5  Ibid.,  fol.  17. 

6  Proceedings  of  the  Committee  for  this  year,  fol.  7.    In  1801,  as  in  the  past,  another 
band  was  hired  for  the  dinner. 

7  Perhaps  he  who  had  planned  the  pantomime  of  1783  (see  above,  p.  101);  Peace  and  the 
Four  Quarters  of  the  World  had  appeared  as  living  figures  in  more  than  one  seventeenth- 
century  Lord  Mayor's  Show. 


THE  LORD  MAYOR'S  SHOW  103 

"  Resolved.  That  the  word  PEACE  be  exhibited  in  White  Lamps  over  the 
Sheriffs  Hustings."  These  entries  show  the  development —  or  deterioration  — 
from  the  pageant-car,  with  its  living  figures,  to  the  painted  transparency. 

At  the  meeting  of  6  November,  1801,  it  was  "  Resolved,  that  the  Chairman 
&  Secretary  be  desired  to  procure  vocal  performers  on  the  best  terms  they  can." 
It  is  recorded  under  date  of  9  November,  "  The  Lord  Mayor,  Aldermen  & 
Sheriffs  &c  departed  to  Westmr  about  12  o'Clock  when  the  Comm66  proceeded 
to  clear  the  Hall  of  Interlopers,  &  secure  all  the  avenues,  having  previously 
badged  the  several  attendants  engaged  for  the  service  of  the  day.  .  .  At  three 
o'clock  the  Doors  were  opened  &  the  company  began  to  assemble,  the  Com 
mittee  receiving  them  at  the  entrance,  with  their  Wands  decorated  with  Olive 
Branches,  as  a  symbol  of  the  restoration  of  Peace.  The  Lord  Mayor,  Aldermen 
and  Sheriffs  arrived  about  f  past  Four:  &  were  followed  by  the  Great  Officers 
of  State  &c  dinner  was  served  at  Six,  to  a  Company  as  numerous  as  ever  assem 
bled  at  Guildhall:  in  fact  the  unusual  splendor  of  the  show;  the  fineness  of  the 
day,  &  the  happy  return  of  Peace,  all  contributed  to  invite  those,  whose  situation 
in  life  entitled  them  to  a  seat;  or  whose  interest  could  procure  them  a  Ticket, 
to  be  present  at  the  celebration  of  that  day  when  the  Chief  Magistrate  of  the 
first  City  in  the  British  Empire  began  the  exercise  of  his  magisterial  functions.  .  . 

"The  company  at  the  Sheriffs  Hustings  were  much  gratified  by  the  melodi 
ous  Voice  of  Mr.  Incledon,  who  kindly  &  freely  gave  his  assistance  at  a  very 
short  notice  to  forward  the  general  harmony.  .  .  The  company  continued  en 
joying  the  festive  Dance,  &c.  with  the  utmost  hilarity  till  \  past  3  o'clock  when, 
the  last  party  separated;  &  the  Committee  having  seen  the  hall  cleared  &  per 
fectly  secure  from  Fire  retired  to  their  respective  habitations." 

The  "  order  of  procession  "  for  the  proclamation  of  peace,  28  April,  i8o2,2 
seems  to  include  no  pageants.  The  carriages  of  various  city  officials  appeared, 
however,  and  the  occasion  may  have  resembled  the  annual  civic  show,  which 
seems  to  have  lost  almost  all  —  if  not  all  —  of  its  pageantic  features.  The 
transparency  of  1801,  and  the  olive-branched  wands  of  the  Committee,  brought 
allegory  and  symbolism  inside  the  Guildhall  —  a  noteworthy  fact. 

Bell's  Weekly  Messenger  for  Sunday,  n  November,  i8o4,3  recounts  the  mayor 
alty  procession  of  that  year.  "  The  Goldsmiths'  Company  took  precedence  of 
the  others  in  consequence  of  the  Lord  Mayor  belonging  to  it.  This  Company 
put  themselves  to  an  additional  expense  on  the  occasion  by  introducing  about 
twenty  men  ...  in  full  bottomed  wigs  and  black  cloaks,  with  cocked  hats, 
and  wearing  round  their  necks  gilt  chains.  The  novelty  of  this  exhibition,  which 
was  formerly  a  usual  appendage  to  the  Company,  but  long  since  discontinued, 
attracted  general  notice."  Here  we  find  a  suggestion  of  history  behind  the  dress- 
ing-up  which  must  represent  more  than  a  costume-ball  if  it  is  to  be  real  pageantry. 

1  MS.  cit.,  fol.  26  f.  3  Cited  by  Prideaux,  ii,  p.  308. 

2  Preserved  in  the  Guildhall  (Broadsides  11-13). 


104  ENGLISH  PAGEANTRY 

1809 — THE  USUAL  PREPARATIONS;    AND  THE  RUDENESS  OF  A 

GREAT  MAN. 

At  a  meeting  of  the  Lord  Mayor's  and  Sheriffs'  Committee  held  on  21  October, 
i  Sop,1  "  Mr.  Warren  of  the  West  London  Militia  attended  and  was  directed  to 
supply  a  Band  of  14  Musicians  to  attend  the  Lord  Mayor  in  going  to  &  return 
ing  from  the  water  side  which  he  agreed  to  do  for  the  Sum  of  £8,  85.  .  ."  At  the 
meeting  of  31  October,  "  The  Secretary  was  requested  to  write  to  Mr.  Wm 
Taylor  to  request  his  Attendance  on  the  ensuing  Lord  Mayor's  Day  as  a  Vocal 
Performer,"  2  and  on  7  November  it  was  "  resolved  that  Mr.  John  Hayne  have 
a  personal  ticket  as  a  Gentleman  qualified  to  assist  in  the  vocal  Performances."  3 

A  parenthetical  record  may  be  made  of  the  fact  that  in  the  committee's  list 
of  "  Noblemen  &  Gentlemen  who  did  not  return  any  answer  "  to  the  invitation 
to  the  banquet,  occurs  the  name  of  the  "  Rt  Honble  R.  B.  Sheridan." 

1815  —  RELICS  OF  WATERLOO  EXHIBITED 

The  year  of  Waterloo  saw  the  revival  of  a  figure  not  uncommon  in  the  older 
pageantry,  —  the  "  armed  man."  The  author  of  Civic  Honours 4  tells  us  that 
"  at  the  last  Lord  Mayor's  Day,  [1815]  independently  of  two  persons  in  com 
plete  armour,  and  a  third  partially  armed,  representing  ancient  Knights,  with 
their  attendants,  'squires,  heralds,  standard-bearers,  &c.  the  procession  was  ren 
dered  very  interesting  by  small  parties  of  horse  soldiers,  arrayed  as  curiassiers, 
(sic),  in  the  spoils  so  bravely  won  on  the  preceding  i8th  of  June,  at  the  ever- 
memorable  battle  of  Waterloo!  "  5  From  this  time  on,  the  "  armed  man  "  be 
comes  a  common  figure  in  these  processions  for  many  years;  he  is  given  no 
proper  name,  and  can  be  regarded  only  as  the  skeleton  of  pageantic  chivalry, 
or  the  shade  of  "  pageantized  "  romance;  but  his  direct  ancestry  seems  to  be 
in  the  Armorers'  trade-figure. 

In  1816,  a  precept  of  the  Mayor  6  provides  for  the  show,  announcing  the  route 
of  the  procession,  and  forbidding  squibs  or  other  fireworks.7  It  further  provides 

1  See  the  Proceedings  of  this  year,  p.  7.  2  Ibid.,  p.  21. 

3  Ibid.,  p.  30.    The  names  of  four  "  vocal  performers  "  —  Messrs.   Maynard,    Ingle, 
Taylor  and  Terrail  —  are  recorded  on  p.  32. 

4  This  volume,  published  at  London  in  1816,  is  recorded  in  the  Bibliography.    The  colored 
frontispiece  of  the  book  shows  the  men  in  armor,  the  Lord  Mayor's  Coach,  and  a  bit  of  the 
crowd,  in  a  drawing  done  after  the  style  of  Cruikshank. 

5  Op.  cit.,  p.  19.    Mr.  Marriott,  whose  name  appears  frequently  in  later  Proceedings  of 
Committees,  received  £80  for  these  "  men  in  armour."    (See  the  MS.  "  Expences  at  Guild 
hall  on  Lord  Mayor's  Day  1815,"  now  preserved  in  that  Library  (MS.  148).    No  other  sign 
of  pageantry  appears  on  the  accounts;  the  total  expenses  amounted  to  £1448,  05.  id. 

6  Dated  24  October. 

7  This  is  preserved  in  the  Taylor  Collection  of  Broadsides  (no.  138)  in  the  Guildhall 
Library.     (Cf.  above,  p.  14,  n.  i.)    It  answers  Herbert's  query,  (ii,  p.  411,  n.  2),  as  to  whether 


THE  LORD  MAYOR'S  SHOW  105 

for  the  decoration  of  "  the  Fronts  and  Balconies  of  [the]  Houses,"  with  the  best 
hangings  or  ornaments  of  the  inhabitants;  but  makes  no  mention  of  pageants. 

J.  G.  Nichols  l  records  that  when  the  mayor  in  1816  returned  from  West 
minster  by  land,  the  "  High  Steward  of  the  City  and  Liberties  of  Westminster 
(Lord  Viscount  Sidmouth)  thought  proper  to  protest  against  such  deviation 
from  the  usual  practice,  '  in  order  that  the  same  course  may  not  be  drawn  into 
precedent,  and  adopted  on  any  future  occasion.' ' 

"  In  1817,  the  death  of  the  Princess  Charlotte  of  Wales  having  occurred  three 
days  before  Lord  Mayor's  Day,  the  procession  was  omitted." 

1821  —  MEN  IN  ARMOR  AND  MR.  MARRIOTT 

The  Secretary  of  the  Committee  for  1821  reported  "  that  the  Sub-committee 
had  seen  Mr.  Marriott  who  informed  them  that  it  would  not  be  consistent  to 
have  the  Men  in  Armour  without  military,  neither  could  he  suggest  any  other 
procession  but  at  an  expence  of  at  least  from  Three  to  Four  hundred  pounds."  3 
Later 

"  Mr.  Marriott  .  .  .  stated  that  he  should  be  ready  to  provide  Five  Men  in  Armour  with 
their  Attendants  on  Lord  Mayor's  Day,  the  two  in  addition  to  the  three  which  he  had  for 
several  years  furnished  on  previous  occasions.  One  of  the  additional  suits  of  armour  was  of 
a  most  splendid  appearance,  sent  to  this  Country  for  the  use  of  the  Champion  at  the  Coro 
nation,  but  not  used.  The  other  new  suit  would  be  of  a  novel  and  striking  description  never 
introduced  before.  Mr.  Marriott  stated  that  in  addition  to  his  own  men  (about  Twenty) 
he  should  require  the  attendance  of  Thirty  six  Mounted,  Ten  dismounted  cavalry,  Twelve 
Trumpeters,  Two  Kettle  Drummers  and  six  Chargers.  Mr.  Marriott  said  that  the  Charge 
for  the  Five  Men  would  be  One  Hundred  and  ten  Guineas.  If  only  three,  Eighty  Guineas." 
And  it  was 

"...  Resolved.  That  the  Lord  Mayor  Elect  and  the  Sheriffs  be  requested  to  afford  this 
Committee  an  opportunity  of  having  a  conference  on  the  propriety  of  having  the  Men  in 
Armour  with  the  usual  attendance  of  a  Military  before  the  final  orders  be  given  to  Mr.  Mar 
riott."  4  At  the  next  meeting  of  the  Committee,  the  Lord  Mayor-elect  "  stated  that  from  a 


the  precept  of  1768  "  be  not  the  last  instance  of  the  lord  mayor's  commanding  the  companies 
by  precept." 

A  similar  precept  (no.  139  in  the  same  collection)  repeats  practically  the  very  words  of  the 
1816  order;  it  is  dated  25  October,  1826.  That  of  16  October,  1827  (no.  140)  is  phrased  in 
much  the  same  language  —  both  forbid  "  squibs,  serpents,  or  other  fireworks."  That  of 
29  September,  1830  (no.  142)  to  the  Companies,  does  not  mention  fireworks;  but  that  to  the 
Aldermen  of  the  different  Wards,  under  the  same  date  (no.  143  in  the  Taylor  Collection) 
repeats  the  precepts  of  1826  and  1827. 

1  Land.  Pag,,  p.  121,  (giving  no  authority).  2  Ibid.,  loc.  cit. 

3  Proceedings  for  this  year,  p.  17.    On  p.  13,  we  find  that  "  Mr.  Stokes  was  ordered  to 
attend  the  procession  to  and  from  Westminster  with  his  band  (in  all  twelve  persons)  and  to 
receive  Eight  Guineas.    He  was  desired  to  take  care  that  they  all  appeared  in  Uniform  and 
were  clean  in  their  appearance." 

4  Ibid.,  p.  21. 


106  ENGLISH  PAGEANTRY 

communication  which  he  had  with  the  proper  authorities,  he  clearly  understood  that  no 
Troops  would  be  granted  but  the  usual  Guards.  That  in  consequence  of  the  opinion  of  the 
Sheriffs  as  well  as  that  of  this  Committee  that  it  would  be  improper  to  introduce  those  Troops 
and  considering  that  it  would  not  be  consistent  to  have  Men  in  Armour  without  the  attendance 
of  a  Military  he  wished  that  they  should  not  be  engaged  for  the  ensuing  Lord  Mayor's  Day  "  1 
Whereupon,  it  was  unanimously  resolved,  "  That  Mr.  Marriott  be  informed  that  the  Com 
mittee  cannot  enter  into  any  Arrangement  for  the  Attendance  of  the  Men  in  Armour  in  the 
procession  on  the  ensuing  Lord  Mayor's  Day,"  —  to  which  an  amendment  was  made,  adding 
the  words,  "  At  present."  2 

At  a  later  meeting,  "  the  Sheriffs  attended  and  stated  that  they  had  seen  the  Lord  Mayor 
Elect  with  whom  they  had  again  left  the  decision  of  having  the  Men  in  Armour  with  the  usual 
Troops,  who  had  informed  them  that  he  had  had  an  interview  with  Lord  Sidmouth  on  the  sub 
ject  of  the  attendance  of  the  Military  with  the  Men  in  Armour.  His  Lordship  had  referred 
to  a  letter  sent  last  year  in  which  it  was  stated  that  the  Military  could  not  be  granted  in  any 
future  year  and  that  the  said  Resolution  would  be  adhered  to  on  the  present  occasion.  That 
in  consequence  the  Lord  Mayor  had  acquainted  the  Sheriffs  that  he  would  agree  to  the  Men 
in  Armour  being  employed  in  such  a  way  as  the  same  could  be  arranged. 

"  Mr.  Marriott  having  been  sent  for,  attended  and  stated  that  last  week  he  had  received 
positive  orders  from  the  Lord  Mayor  Elect  to  get  ready  the  Men  in  Armour  in  the  usual 
way,  his  Lordship  undertaking  to  obtain  the  attendance  of  the  necessary  Troops.  In  conse 
quence  of  which  he  had  been  making  preparations  accordingly  when  on  Saturday  Evening 
last  the  Lord  Mayor  called  in  his  way  to  Lord  Sidmouth  and  promised  to  let  Mr.  Mariott  (sic) 
know  on  his  return  the  result  of  his  application.  .  .  Mr.  Marriott  was  .  .  .  asked  whether  he 
could  provide  the  attendance  of  Four  Men  in  Armour  with  suitable  attendants  at  an  expence 
of  Eighty  to  One  hundred  pounds.  He  informed  the  Committee  that  it  would  be  in  his  power 
and  the  said  proposal  received  the  approbation  and  sanction  of  both  the  Sheriffs  .  .  ."  3 

At  the  next  meeting  of  the  Committee,  the  Lord  Mayor-elect  "  stated  that  he  never  gave 
any  positive  directions  to  Mr.  Mariott  (sic),  but  only  conditional  orders  on  his  own  responsi 
bility  in  case  the  usual  number  of  Troops  could  be  spared.  The  Lord  Mayor  Elect  however 
not  having  been  able  to  obtain  the  Troops  he  considered  that  he  had  given  no  orders  on  the 
subject.  His  Lordship  added  that  subsequently  he  had  withdrawn  his  objection  to  having 
the  Men  in  Armour  without  Military  the  Sheriffs  appearing  to  wish  to  have  them.  The 
Sheriffs  however  having  referred  the  subject  to  the  Committee,  .  .  .  his  Lordship  upon  hear 
ing  the  representation  Mr.  Marriott  had  made  to  the  Committee  as  to  positive  orders  having 
been  given  to  him  by  the  Lord  Mayor  Elect,  His  Lordship  had  refused  to  give  any  instructions 
in  the  affair  and  that  he  had  nothing  to  do  with  it."  4  So  there  were  no  Men  in  Armor  this 
year. 

1822  —  MEN  IN  ARMOR  REAPPEAR 

In  1822,  "  the  Lord  Mayor  Elect  and  Sheriffs  signified  their  wish  to  have 
the  usual  Procession  of  Men  in  Armour,  &c.  and  which  was  left  to  the  Com- 

1  Proceedings  for  this  year,  pp.  25  f. 

2  Ibid.,  p.  26. 

3  Ibid.,  pp.  44,  45. 

4  Ibid.,  p.  52.    Four  "  Vocal  Gentlemen  "  were  engaged  as  singers  (p.  38);   they  received 
thirteen  guineas  (p.  69);    Mr.  Marriott  received  "for  trouble  of  attendance  about  Men  in 
Armour,"  five  guineas  (ibid.};   the  dinner  cost  £906,  195.  4^.;  and  the  total  expenses  for  the 
Lord  Mayor's  Day  of  1821  were  £1753,  i6i.  3^.  (pp.  69-70). 


THE  LORD  MAYOR'S  SHOW  107 

mittee  to  arrange."  l  It  was  resolved,  "  That  Mr.  Henry  Marriott  be  requested 
to  attend  the  next  Meeting  of  the  Committee  with  Estimates  &c.  respecting  the 
Procession  with  Men  in  Armour  and  their  Attendants."  At  a  later  meeting, 
"  Mr.  Henry  Marriott  attended,  and  stated  that  he  should  be  ready  to  provide 
the  Men  in  Armour  which  he  had  for  several  Years  furnished  on  similar  occasions. 
And  he  had  no  doubt  if  Application  was  made  to  the  proper  Authority  for  suffi 
cient  Troops  to  form  the  Procession  they  would  be  readily  granted.  It  was  there 
fore  moved  and  resolved  unanimously  That  Mr  Henry  Marriott  do  attend  the 
Procession  in  the  usual  way  And  that  the  Sum  of  Eighty  Guineas  be  paid  him 
to  include  the  whole  of  his  Expences  And  in  the  event  of  Troops  not  being 
obtained  to  assist  in  the  Procession  Mr.  Marriott  undertook  to  form  a  Proces 
sion  which  would  be  satisfactory  to  the  Committee  and  suitable  to  himself  at 
an  Expence  not  exceeding  the  Sum  before  mentioned."  3 

On  24  October,  1822,  "  Mr.  Remembrancer  reported  That  he  had  seen  Mr. 
Dawson  the  Under  Secretary  of  State  and  Colonel  Haverfield  who  informed  him 
that  the  application  for  the  Military  to  attend  in  the  Procession  was  forwarded 
to  the  Rt.  Hon.  Robert  Peel  the  Secretary  of  State  for  the  Home  Department 
who  was  absent  in  the  country,  and  that  an  Answer  might  be  expected  before 
the  next  Meeting  of  the  Committee."  4  Peel  refused  to  order  the  attendance  of 
either  the  Life  or  the  Horse  Guards,  referring  to  a  precedent.5  "  In  1820  the 
Lord  Mayor  Elect  was  informed  by  Sir  Herbert  Taylor  by  direction  of  H.  R.  H. 
The  Commander  in  Chief  that  in  future  it  would  be  necessary  to  discontinue 
the  Attendance  of  the  Military  and  last  Year  no  Detachment  was  granted," 
reads  his  postscript. 

"  Mr.  Marriott  attended  the  Committee  when  he  was  informed  that  the 
Military  would  not  be  granted  to  assist  in  forming  the  Procession.  He  stated 
to  the  Committee  that  he  had  been  preparing  the  necessary  requisites  for  the 
Procession  but  as  there  were  many  necessary  requisites  ...  to  be  provided  in 
equipping  a  certain  number  of  Horsemen  to  form  a  Procession  which  should 
not  be  deficient  in  splendour  and  appearance  from  any  former  occasion  the  Ex- 
pence  would  amount  to  £100  which  the  Committee  agreed  to  give  him. 

"  Mr.  Marriott  requested  the  use  of  the  Magistrates  Room  and  the  adjoin 
ing  Room  in  Guildhall  Yard  for  the  purpose  of  equipping  his  Men  and  deposit 
ing  the  Articles  required  for  the  Procession  on  the  9  Novr.  which  the  Com 
mittee  engaged  to  obtain  for  him  for  that  purpose."  6 


1  Proceedings  for  this  year,  p.  2. 

2  Ibid.,  p.  4.  4  Ibid.,  p.  25. 

3  Ibid.,  pp.  13  f.  6  Ibid.,  p.  33. 

6  Ibid.,  pp.  33  f.  Mr.  Marriott  was  paid  £100  for  "  Men  in  Armour  as  pr.  Contract," 
and  eight  guineas  for  extra  trumpeters  and  kettle  drum  (p.  75).  Four  men  were  engaged  as 
"Vocal  Performers"  for  the  banquet  (p.  28);  they  received  —  together  —  nine  guineas 
(p.  76).  The  total  cost  of  the  entertainment  this  year  was  £1718,  2s.  8d.  (ibid.). 


108  ENGLISH  PAGEANTRY 

At  the  end  of  the  volume  of  minutes  of  the  1823  committee  is  preserved  the 
"  Order  of  Procession  "  for  the  1822  Lord  Mayor's  Day  parade.  Besides  the 
usual  marching  guilds,  etc.,  it  included  an  "  Ancient  Herald  "  and  three  "  An 
cient  Knights,"  with  their  attendants  —  armorers,  trumpeters,  standard- 
bearers,  and  esquires,  with  yeomen  of  the  guard.  '  The  Suit  of  Brass  Armour, 
worn  by  the  First  Knight,"  says  the  Order  of  Procession,  "  is  the  property  of 
Mr.  MARRIOTT.  —  The  Suit  of  Steel  Armour,  worn  by  the  second  Knight  is 
HENRY  THE  FIFTH'S,  from  the  Tower.  —  The  suit  of  Brass  Armour,  worn  by 
the  third  Knight,  is  Mr.  ELLISTON'S;  all  the  Half  Armour  and  Banners,  are  the 
property  of  Mr.  MARRIOTT,  and  the  former  were  taken  from  the  French,  at  the 
Battle  of  Waterloo. 

"  The  Arrangements  of  that  part  of  the  Procession  connected  with  the  Ar 
mour  are  under  the  direction  of  Mr.  MARRIOTT." 

Knights  and  attendants  were  inserted  in  this  procession,  like  the  modern 
"  parenthetical  "  pageant.  They  were  preceded  by  the  Merchant-Taylors,  in 
carriages,  with  their  banners  and  attendants;  they  were  followed  by  the  Mayor, 
Sheriffs,  and  other  civic  officials.  "  At  the  Obelisk,  Bridge  Street,  the  Proces 
sion  on  its  Return  from  Westminster  in  the  State  Barges  of  the  several  Companies 
of  London,  will  be  joined  by  the  Carriages  of  the  Royal  Family  .  .  .  and  other 
persons  of  Distinction  invited  to  the  Banquet  at  Guildhall."  1 

1823  —  ARMED  MEN  THE  ONLY  PAGEANTIC  FEATURE 

The  MS.  minutes  of  the  1823  Committee  record  that  on  13  October  Mr. 
Marriott  was  called  in;  and  "  not  being  prepared  with  a  Plan  of  the  Procession 
for  the  Men  in  Armour,  It  was  refer'd  to  a  Sub  Committee  consisting  of  The 
Chairman,  Secretary,  Mr.  Waithman,  Mr.  Whittaker  and  Mr.  Richardson  to 
arrange  the  same  with  him."  2  On  30  October,  a  letter  from  Mr.  Elliston  was 
read,  "  granting  the  use  of  his  Armour  to  the  Committee."  At  the  same  meet 
ing,  Messrs.  Waithman  and  Whittaker  reported  that  they  had  made  the  neces 
sary  arrangements  for  the  procession  of  the  Men  in  Armour,  except  the  Trump 
eters."  3 

A  manuscript  in  the  Guildhall  Library,  called  Ceremonies  Observed  by  the 
Lord  Mayor  of  London,  1824-25,  notes  a  water-procession  on  Lord  Mayor's  Day, 
1824,  to  Westminster  and  return  (fols.  7  and  8);  no  mention  is  made  of  land 


1  From  the  Order  of  Procession.    Cf.  on  this  year's  show,  Fairholt,  pt.  i,  p.  137;    in  a 
note,  he  questions  the  authenticity  of  the  ascription  of  armor  in  the  Tower  to  Henry  V. 

2  Proceedings  for  this  year,  p.  12. 

3  Ibid.,  p.  32.    "  Humphries,  for  Men  in  Armour  "  sent  in  a  bill  of  £33,  195.  (p.  56);   it 
was  resolved,  "  That  in  consequence  of  the  Vocal  Gentlemen  who  engaged  to  attend  not 
being  in  the  Hall  in  proper  time,  only  Nine  Guineas  be  given  to  them  one  of  the  Gentlemen 
not  arriving  'till  9  o'Clock  —  the  others  not  before  7  o'Clock  "  (p.  59).    The  total  cost  of  the 
entertainment  this  year  was  £1237,  155.  2d.    (p.  58). 


THE  LORD  MAYOR'S  SHOW  109 

pageants,  but  Fairholt 1  says  that  the  armor  of  1822  appeared  again.  I  have 
not  seen  any  minutes  of  the  Committee  for  this  year.  In  1825,  at  the  meeting 
of  the  Committee  on  7  October,  it  was  resolved  to  provide  four  "  Vocal  Gentle 
men,"  and  to  request  Mr.  Marriott's  attendance,  "  on  the  subject  of  the  Men 
in  Armour."  A  "  transparency  "  at  £2,  ios.,  was  voted,  to  be  provided  by 
Mr.  Pattrick; 3  and  on  31  October,  "  the  contractor  for  the  Men  in  Armour 
attended  to  know  what  colour  the  Lord  Mayor's  Ribbons  would  be  on  the  9 
November.  Resolved,  That  he  do  attend  tomorrow  with  a  particular  of  the 
procession  for  the  use  of  the  Committee."  4  Mr.  Callahan  received  "  for  Men 
in  Armour  and  procession  "  £71,  8s? 

Armed  men,  or  knights,  and  their  attendants,  appeared  in  other  mayoralty 
shows  of  the  period  6 —  the  only  trace  of  pageantry  we  find.  In  1827,  as  we 
have  noted,7  the  two  giants  appeared;  the  Order  of  Procession  for  1828  8  shows 
the  usual  guild-members,  and  four  "  ancient  knights  "  preceded  by  two  "  an 
cient  heralds."  The  humorous  verses,  published  in  1830  under  the  name  of 
"  Thomas  Dybdynne,"  and  entitled,  A  Ryghte  Sorroweful  Tragyke  Lamentacyonne 
for  ye  losse  of  my  Lorde  Mayor  his  Day  el  which  was  to  have  byn  on  ye  ix  of  Novembyr 
MDCCCXXX,  But  dydd  nevyr  see  ye  Lychte,  beyng  Smothyred  lyke  unto  a  Fovle 
Abortyonne,  suggest  that  perhaps  no  show  was  given  this  year. 

1833  —  MR.  MARRIOTT  AND  THE  COMMITTEE;    THE  ARMED  MEN  AGAIN 

The  MS.  Minutes  of  the  Committee  for  1833,  under  date  of  i  November, 
record  that 

Mr.  Marriott  having  been  called  in  was  requested  to  inform  the  Committee  whether  that  part 
of  the  procession  under  his  direction  was  equal  to  former  years,  replied  that  it  was  not;  that 
in  former  years  there  were  more  Troops,  Heralds,  and  Trumpeters,  which  gave  to  that  part 
of  the  Pageant  a  more  imposing  appearance. 

Mr.  Figgins  inquired  what  would  be  the  additional  expense  of  the  necessary  Heralds  and 
Trumpeters,  and  how  many  more  Troops  would  be  required. 

Mr.  Marriott  replied  that  in  all  about  25  Persons;  that  the  expense  would  be  about 
Twenty  Pounds,  and  that  the  Pageant  would  be  increased  about  one  third.  [It  was  there 
upon  resolved,]  That  Mr.  Marriott  do  cause  the  said  additions  to  be  made  and  that  his  ar 
rangements  do  equal  in  Splendour  any  former  years. 

That  for  the  said  additional  improvements  his  contract  be  increased  from  Eighty  Pounds 
to  One  Hundred  Pounds. 


1  L.  M.  Pag.,  pt.  i,  p.  137.  3  Ibid.,  fol.  28. 

2  Proceedings  for  this  year,  fol.  5.  4  Ibid.,  fol.  34. 

5  Ibid.,  fol.  60;  the  total  expenses  were  £1819,  us.  ^d.  (fol.  61).    Fairholt,  pt.  i,  pp.  137  f., 
records  that  five  knights  appeared  this  year,  in  modern  armor. 

6  Cf.  Fairholt,  pt.  i,  p.  138. 

7  See  above,  vol.  i,  p.  63. 

8  Preserved  in  Fairholt's  Scrapbook,  vol.  ii,  now  in  the  library  of  the  Soc.  Antiq.    Cf.  the 
precepts  for  1826,  1827,  and  1830,  mentioned  above,  p.  14,  n.  i,  and  p.  104,  n.  7. 


no  ENGLISH  PAGEANTRY 

A  "  Crown  and  Rays,"  which  was  the  transparency  the  year  before,  was  used 
again  this  year;  the  committee  hired  it  for  ten  guineas  and  had  it  fixed  in  the 
East  Window,  and  taken  down,  ("  the  same  as  last  year,")  —  the  price  being 
for  one  night  only.1  On  the  4th, 

Mr.  Depy  Alderman  referd  to  the  additional  engagement  made  by  this  Committee  with 
Mr.  Marriott  in  respect  of  adding  to  the  procession  a  larger  proportion  of  Troops  and  Heralds 
to  precede  the  knights  in  armour,  and  Mr.  Remembrancer  having  stated  that  any  Troops 
required  for  the  Procession  had  always  been  applied  for  by  him,  as  from  and  for  the  accomo- 
dation  of  the  Lord  Mayor,  and  the  copy  of  a  letter  from  Sir  Geo.  Naylor,  Garter  King  at 
Arms,  addressed  to  Mr.  Town  Clerk  dated 2  By  desire  of  the  Duke  of  Norfolk  the 

Earl  Marshall  (requesting  Mr.  Town  Clerk  to  lay  the  same  before  the  proper  Authorities) 
requesting  therein  that  the  use  of  Heralds  wearing  Tabords  may  be  discontinued  as  tending 
to  bring  a  very  ancient  service  of  His  Majesty's  Household  into  ridicule,2  having 

been  read  from  the  minutes  of  the  proceeding  of  the  Committee  conducting  the  entertainment 
for  the  9th  of  Novr'  as  also  a  resolution  of  that  Committee  thereon 

[Resolved]  That  for  the  reasons  above  given  the  Committee  rescind  the  resolution  of  the 
Ist  of  Novr'  in  respect  of  increasing  that  portion  of  the  pageant  under  Mr.  Marriott's  direction 
and  that  the  contract  do  remain  as  originally  agreed  upon  at  the  sum  of  £80.  o.  o. 

The  Remembrancer  "  was  directed  to  make  the  necessary  arrangements  for 
the  attendance  of  the  marine  Boys  ";  and  on  the  5th  it  was  resolved  that  a  dinner 
be  provided  for  the  forty  boys  who  were  to  receive  each  a  shilling  in  addition.3 

The  Order  of  Procession  for  this  year  is  inserted  in  the  MS.  minutes,  under  9 
November;  it  included,  beside  the  usual  marching  companies,  three  "  Ancient 
Knights  "  with  attendants.  From  the  Guildhall,  the  procession  went  to  the 
Tower,  thence  to  Westminster  by  water;  returning,  the  mayor  landed  at  Black- 
friars. 

1837  —  THE  FIRST  YEAR  OF  VICTORIA'S  REIGN 

On  the  first  Lord  Mayor's  Day  after  her  accession,  Queen  Victoria  dined  at 
the  Guildhall,  according  to  custom.4  Coming  from  Westminster  in  regal  splen 
dor,  the  young  sovereign  was  met  at  Temple  Bar  by  Mayor  and  Aldermen  in 
all  their  civic  glory;  the  senior  scholar  of  Christ's  Hospital  delivered  an  address 


1  Ibid.    The  pages  of  this  volume  are  not  numbered;   these  arrangements  were  made  on 
the  first  of  November. 

2  Blank  left  in  the  MS. 

3  The  cost  of  this  item  was  £8,  i6s.    There  were  forty-one  boys.    Ten  singers  were  agreed 
on  at  the  meeting  of  7  November;  for  his  procession,  Mr.  Marriott  received  £85;   the  total 
cost  of  the  entertainment  was  £2174. 

4  For  particulars  of  this  occasion,  see  a  collection  made  by  F.  Hobler  in  1838,  now  pre 
served  in  the  Guildhall  Library.    It  contains  some  rare  folders  and  plates  —  many  of  them 
colored  —  tickets,  menus,  &c.,  together  with  the  "  Report  to  the  Court  of  Common  Council, 
from  the  Royal  Entertainment  Committee,  presented  14  December  1837,"  and  an  Order  of 
Procession  (bound  opposite  p.  29).    A  rare  panoramic  view  of  the  procession  may  be  found 
injthe  Guildhall  Library;  a  long  account  of  the  occasion  appeared  in  the  London  Times  for 


THE  LORD  MAYOR'S  SHOW  1 1 1 

at  the  door  of  the  royal  carriage,1  but  there  was  no  technical  pageantry  on  this 
occasion.  The  procession  was  a  long  and  brilliant  one ;  the  banquet  was  elaborate, 
and  in  the  evening,  the  city  was  illuminated.2 

THE  SHOW  FOR  1839 

The  MS.  Minutes  of  the  Lord  Mayor  and  Sheriffs'  Committee  for  1839  con 
tain  the  usual  items.  On  9  October,  it  was  resolved  that  "  the  Men  in  Armour 
be  engaged  as  usual  for  the  procession  on  Lord  Mayor's  day,  &  that  Mr.  Mar 
riott  do  attend  the  next  Committee  meeting  with  his  terms  for  providing  them."  3 
On  14  October,  "  Mr.  Marriott  attended  &  offered  to  provide  Men  in  Armour 
with  their  attendants,  Banners,  Troops  &  Trumpeters,  the  same  as  usual  for 
the  amount  of  One  Hundred  Guineas. 

"  Resolved;  That  Mr.  Marriott's  offer  be  accepted."  4  The  Marine  Society 
furnished  forty  boys,  and  five  officers,  with  a  banner,  for  the  procession; 6  and 
an  offer  from  the  London  &  Westminster  Iron  Steam  boat  Company  of  the 
gratuitous  use  of  one  of  its  steam  boats  to  tow  the  State  Barge,  if  necessary,  to 
its  destination,  was  gratefully  accepted.6 

1841  —  PAGEANTRY  REAPPEARS:    A  FULL-RIGGED  SHIP 

Besides  the  "  ancient  knights  "  and  their  attendants,  there  was,  in  the  Show 
for  1841,  the  model  of  an  East  Indiaman,  fully  rigged  and  manned,  on  a  car 
drawn  by  six  horses.7  It  will  be  remembered  that  a  ship  appeared  in  many 
folk-processions,  "  royal-entries,"  and  in  the  elaborate  shows  of  the  seventeenth 
century.  This  may  be  the  immediate  ancestor  of  the  later  ships  which  we  shall 
find  in  subsequent  Lord  Mayor's  Shows;  it  is  an  interesting  example  of  the 


10  November,  1837;  the  "Supplementary  Number"  (862)  of  The  Mirror  of  Literature, 
Amusement  and  Instruction  for  Saturday,  u  November,  1837,  gives  an  abridged  version  of 
the  Times'  account,  and  illustrates  the  banquet.  Pictures  of  the  City  Giants  are  reproduced 
(ibid.,  opp.  p.  319)  but  they  do  not  appear  to  have  been  carried  in  the  procession. 

1  As  Victoria  passed  St.  Mary's,  the  charity  children  sang  "  God  Save  the  Queen." 

2  The   editor  of  the  Mirror   (supplementary  number,   p.  321)    calls  this  a  "  solemn 
national  pageant."    It  may  be  worth  noting  that  a  "  handsome  three-storied  booth  "  was 
erected  at  the  west  end  of  Cheapside,  for  the  boys  of  the  City  of  London  schools.    After  the 
scholars  had  quitted  it,  "  the  galleries  "  were  occupied  by  about  five  hundred  members  of 
the  Sacred  Harmonic  Society  who  sang  "  God  Save  the  Queen  "  as  the  sovereign  returned 
to  Buckingham  Palace. 

3  Minutes,  p.  4. 

4  Ibid.,  pp.  u,  12.    A  Star  was  provided  this  year  for  the  Guildhall  (p.  25);   twelve  vo 
calists  and  a  piano  were  furnished  for  twenty  guineas  (p.  12). 

5  Ibid.,  p.  27. 

6  Ibid.,  p.  49.    The  total  cost  of  this  year's  celebration  was  £2009,  175.  id.  (p.  76). 

7  See  Fairholt,  pt.  i,  pp.  139  and  176.    The  Order  of  Procession  for  1841  is  reprinted,  pt.  i, 
pp.  175  ff. 


112  ENGLISH  PAGEANTRY 

resurrection  of  what  we  might  call  the  "  body  "  of  pageantry,  when  the  "  knights  " 
—  representing  nothing  in  particular  —  are  mere  masqueraders. 

1842  —  AN  ELABORATE  SHOW 

In  the  Illustrated  London  News  for  12  November,  1842,  may  be  found  an 
account  of  the  Lord  Mayor's  Show  for  that  year.  The  gth  of  November  was 
the  anniversary  of  the  birth  of  the  Prince  of  Wales ;  and  the  double  celebration 
was  accompanied  by  the  ringing  of  bells  within  and  without  the  City.  "  The 
morning,  too,  was  unusually  fine,  and  altogether  a  Lord  Mayor's  Show  has 
seldom  .  .  .  presented  a  gayer  appearance  than  that  of  Wednesday.  It  is  to  be 
deeply  regretted,  however,  that  the  festive  procession  did  not  pass  over  without 
a  very  serious  accident  to  one  of  the  '  men  in  armour,'  who  .  .  .  fell  from  his 
horse  near  Blackfriars-bridge  and  broke  his  thigh."  x  The  "  men  in  armor  " 
were  again  the  only  pageantic  features ;  and  the  barges  —  instead  of  being 
rowed  to  Westminster  by  watermen  —  were  towed  by  steamboats. 

A  short  story  by  one  Abraham  Elder,  entitled  Tommy  Doddy:  or  the  Grand 
Pageant,  appeared  in  Bentley's  Miscellany  for  this  year.2  It  describes,  in  the 
manner  of  historical  fiction,  a  dinner  given  to  the  King  and  Queen,  in  1633,  at 
the  Merchant-Taylors'  Hall;  the  banquet  was  preceded  by  a  "  pageant,"  and  the 
"  hero  "  of  the  story  is  the  son  of  the  artisan  who  furnished  the  effigies.  Neither 
as  history  nor  as  fiction  is  the  production  of  great  value ;  but  it  shows  an  interest 
in  the  civic  pageants  of  the  past  felt  in  1842,  and  is  a  rare  instance  of  fiction 
based  upon  pageantry. 


1  Nov.  12, 1842,  p.  424.    The  procession  by  water,  from  London  Bridge,  is  pictured  on  this 
page;  but  the  picture  does  not  agree  with  the  text,  which  (noting  a  departure  from  precedent 
in  the  embarcation  at  the  Southwark  end  of  London  bridge)  continues:   "  Here  the  '  silent 
highway  '  was  witness  to  another  departure  from  established  rule,  for  some  of  the  barges,  in 
the  place,  as  has  been  the  custom  '  any  time  these  hundred  years  past/  of  being  propelled  in 
the  true  and  stately  style  of  civic  dignity,  viz.,  by  powerful  sweeps  in  the  hands  of  the  re 
nowned  Thames  watermen,  were  made  fast  to  steamers,  and  '  tugged  '  up  to  Westminster  .  .  . 
The  state  barge  ran  aground,  and,  as  the  tide  was  unusually  low,  a  quarter  of  an  hour  elapsed 
before  she  could  be  got  off  ...  The  appearance  of  the  gilded  barges  on  the  water,  when  com 
pletely  under  weigh,  was  really  very  grand  and  imposing,  particularly  the  state  barge  and 
the  barge  of  the  Goldsmiths'  Company,  which  shone  like  immense  masses  of  floating  gold." 

Pictures  of  the  water-procession  of  1843,  tne  barge,  and  the  show,  with  a  humorous  article, 
(illustrated  by  caricatures),  on  the  "  Characters  "  of  the  Lord  Mayor's  Day,  may  be  found 
in  the  London  Pictorial  News  for  n  November,  1843,  PP-i84  and  188.  The  official  program 
of  the  show  is  printed,  ibid.,  p.  186;  it  included  an  "  ancient  Herald  "  and  three  "  ancient 
Knights." 

2  See  this  publication,  ix,  pp.  281  f.    I  am  indebted  to  Professor  Kittredge  for  calling 
this  to  my  attention. 


Q 


PQ 

Q 
X 


THE  LORD  MAYOR'S  SHOW  113 

1845  —  THE  GOLDSMITHS'  BARGE  USED  FOR  THE  LAST  TIME 

Unmoved  by  the  appreciation  of  the  Illustrated  London  News  in  1842,  "on 
the  2gth  of  October,  1845,  it  was  resolved  [by  the  Goldsmiths]  '  That  the  Com 
pany  do  not  join  the  procession  on  Lord  Mayor's  day  by  land  or  water/  and  the 
barge  was  not  used  again."  * 

In  1847,  Marriott  and  Smith  received  £105  for  providing  a  "  procession  of 
knights,  &c."  2  Four  "  ancient  knights,"  an  "  ancient  herald,"  with  armourers, 
esquires,  and  standard-bearers  appeared.3  In  1848,  it  was  resolved  that  the 
"  Men  in  Armour  be  engaged  as  usual  for  the  Procession  on  Lord  Mayor's  Day, 
and  that  Mr.  Marriott  of  Fleet  Street  do  attend  the  next  committee  meeting 
with  his  terms  for  providing  them."  4  His  terms  (including  a  dinner  for  the 
mounted  band)  were  £110,  which  were  accepted.5  The  Order  of  Procession  is 
bound  with  the  minutes  of  the  Committee  6  -  four  "  ancient  knights,"  fully 
attended,  with  an  "  ancient  Herald,  Habited  in  a  Tabard,"  followed  the  march 
ing  companies  and  preceded  the  Lord  Mayor:  again  the  "parenthetical" 
character  of  this  part  of  the  show  is  to  be  noted.7 

The  minutes  of  the  Committee  for  1849  8  give  us  details  on  the  show  for  this 
year.  It  was  resolved  "  that  the  procession  take  place  as  usual  .  .  .  and  be  as 
similar  as  possible  to  that  of  last  year."  9  The  Committee  further  resolved, 
"  That  the  Fairlop  Boat  be  engaged  for  the  occasion;  that  the  Men  in  Armour 
be  engaged  as  usual  for  the  Procession,  and  that  Mr.  Marriott 10  be  written  to 
attend  the  next  Committee  Meeting  with  his  terms  for  providing  them;  that 
Mr.  Remembrancer  do  apply  to  the  Commander  in  Chief  for  the  usual  number 
of  Troops  and  a  Mounted  Band  for  the  Street  Procession;  that  the  Remembran 
cer  do  also  make  the  usual  application  to  the  Board  of  Ordnance  for  Armour  and 


1  Prideaux,  ii,  pp.  318  f.    The  "  man  in  brass  "  and  two  "  ancient  knights  "  are  pictured 
in  the  Illustrated  London  News  of  9  November,  1844. 

2  See  the  MS.  accounts  for  this  year,  in  Guildhall  MS.  149. 

3  Cf.  Illus.  Lond.  News,  13  November,  1847,  p.  308. 

4  MS.  Minutes  of  the  Committee  for  Conducting  the  Entertainment  at  Guildhall  on  Lord 
Mayor's  Day,  1848,  fol.  4. 

5  Ibid.,  fol.  9.    The  route  of  the  procession  to  and  from  Blackfriars  Bridge  is  recorded 
(fol.  n);  for  the  evening,  Mr.  Jolley  offered  to  furnish  twelve  voices  —  three  trebles  (ladies) 
three  altos,  three  tenors,  and  three  basses  —  and  to  preside  at  the  piano,  for  twenty  guineas, 
—  which  offer  was  accepted  (fol.  12).    The  expenses  this  year  were  £2471,  gs.  (fol.  54). 

6  Ibid.,  fol.  19.    The  bill  for  the  1848  "  men  in  armor  "  was  receipted  by  Henry  Marriott. 
(Ibid.,  fol.  58). 

7  Cf.  the  Shows  for  1822,  1907,  &c. 

8  Guildhall  MS.  899. 

9  MS.  cit.,  pp.  6  f. 

10  Mr.  Henry  Marriott,  for  providing  Men  in  Armour  with  Attendants,  etc.,  received  £115, 
165.  (ibid.,  p.  77). 


114  ENGLISH  PAGEANTRY 

Flags  to  be  placed  in  Guildhall  on  Lord  Mayor's  Day;  that  the  Remembrancer 
do  apply  to  the  Clerks  of  the  Company's  (sic)  of  which  the  Lord  Mayor  and 
Sheriffs  are  Members  to  ascertain  whether  they  will  attend  in  the  Procession. 
Also  to  apply  to  the  Marine  Society  for  40  Boys  to  join  the  Procession. 

"  That  the  Chairman  be  requested  to  provide  a  Dinner  for  the  Boys  ...  at 
Masons  Hall  Tavern  at  2/6d.  per  head,  and  pay  the  usual  gratuity  of  i/  to  each 
Boy . . . 

"  That  Mr.  Rathbone  of  7  Portland  Place,  and  Mr.  J.  Smithers  of  No.  4 
Gregory  Street,  Pimlico,  be  applied  to,  requesting  them  to  attend  the  next  Com 
mittee  to  tender  for  providing  the  usual  Band  and  Trumpeters  in  the  Guildhall." 1 

The  route  of  the  procession  was  fixed  as  follows: 2  "  From  Guildhall  through 
Gresham  Street  East  to  Basinghall  Street,  Fore  Street,  Moorgate  Street,  Princes 
Street,  Cornhill,  Gracechurch  Street,  and  take  water  at  London  Bridge  and  to 
return  from  Blackfriars  Bridge,  Bridge  Street,  Ludgate  Hill,  St.  Paul's  Church 
yard,  Cheapside,  King  Street  to  Guildhall." 

At  a  meeting  of  the  Committee  on  7  November,  "  the  Barge  Master  attended 
and  stated  that  in  consequence  of  the  Tide  being  low  at  the  time  intended  for 
the  Embarkation  of  the  Procession  it  might  be  necessary  to  engage  a  Steam  Boat 
to  assist. 

"  Resolved  —  That  the  Secretary  write  to  the  Superintendent  of  the  Iron 
Steam  Boat  Company  to  attend  the  next  meeting  of  the  Committee  at  2  o'Clock. 

''  That  Mr.  Searle  the  Bargemaster  be  allowed  the  sum  of  £5  to  be  paid  to 
the  City  Watermen  as  usual."  3 

1850  —  A  CHANGE  MADE  IN  THE  SHOW:    GODWIN'S  LETTER 

In  1850,  George  Godwin  addressed  a  letter  to  the  Lord  Mayor-elect,  giving 
suggestions  for  the  improvement  of  the  Show.4  In  view  of  its  antiquity,  he  said, 
more  taste  and  invention  should  take  the  place  of  dull  routine;  he  suggests 
"  emblems  and  works  of  art,  accordant  with  its  ancient  character,  and  worthy 
of  the  present  time.  In  lieu  of  the  men  in  mock  armour,  who  have  had  a  long 
run,  you  might  introduce,  say  three  compositions  typical  of  manufactures,  agri 
culture,  and  the  arts;  and  do  honour,  if  it  were  by  but  a  series  of  banners,  to 
the  great  minds  that  have  taught  and  raised  the  world,  and  to  the  past  worthies 

1  Guildhall  MS.  899,  pp.  7-9. 

2  Ibid.,  p.  28. 

3  Ibid.,  pp.  43  f .    At  the  end  of  the  MS.  may  be  found  copies  of  the  various  bills.    Twelve 
vocalists  —  as  in  1848  —  were  provided  at  a  cost  of  £21  (pp.  13  and  73);   various  military 
bands  and  trumpeters  —  both  for  the  procession  and  banquet  —  were  employed;   the  dinner 
—  exclusive  of  wine  —  cost  £1015;    and  the  total  cost  of  the  entertainment  amounted  to 
£2366,  75.  yd.,  of  which  the  mayor  paid  £1100,  the  two  sheriffs  £550  each,  and  the  City 
Lands  Committee  £200. 

A  copy  of  these  minutes,  with  an  Order  of  Procession  may  be  found  in  Guildhall  MS.  35. 

4  The  letter  is  preserved  in  the  Guildhall.    (See  Bibliography,  s.  v.  Godwin.) 


THE  LORD  MAYOR'S  SHOW  115 

who  have  specially  served,  adorned  or  otherwise  improved  the  City.     '  Peace 
has  its  victories  as  well  as  war.'  .  .  " 

This  letter  seems  to  have  had  an  effect;  the  Morning  Post  and  the  Times  for 
2  November,  1850,  announced:  "  The  streets  of  the  City  will  present  a  very 
curious  and  interesting  scene  on  the  approaching  Lord  Mayor's  Day.  Amongst 
the  changes  which  are  to  be  introduced  upon  that  occasion  in  the  great  civic 
procession,  will  be  the  following  appropriate  substitutes  for  the  trumpery  ex 
hibition  of  the  men  in  armour  at  the  head  of  the  cavalcade.  .  .  "  The  Globe  of 
7  November,  1850,  foretells  the  changes  in  the  procession,  and  observes:  "  It 
will  be  seen  that  the  committee  have  most  judiciously  dispensed  with  the  at 
tendance  of  the  farcical-looking  l  ancient  Knights,  mounted  and  armed  cap-a-pie, 
in  suits  of  polished  steel  armour,  and  plumed,'  and  filled  up  the  hiatus  with 
something  more  pleasingly  figurative  of  England's  glory." 

ALLEGORY  AND  SYMBOLISM  REVIVED 

"  The  New  Lord  Mayor's  Show,  1850,"  is  pictured  in  the  Illustrated  London 
News  for  9  November,  1850;  after  musicians  and  trumpeters  came  Peace, 
mounted  on  a  white  horse;  she  was  followed  by  Africa,  Europe,  America,  and 
Asia,  also  mounted  and  appropriately  dressed.  Then  came  various  animals  - 
a  horse,  a  camel,  an  elephant,  and  two  deer  —  bearing  fruits  and  produce  of  the 
different  continents;  then  horses,  bearing  burdens  representing  Industry,  the 
Arts,  Manufactures,  Commerce;  and  finally  a  car,  drawn  by  six  horses,  repre 
senting  a  barge,  manned  by  four  sailors;  Happiness  sat  therein  on  the  world, 
Britannia  at  her  feet.  After  this,  soldiers  and  civic  officials;  then  the  Mayor  in 
his  coach.2 

John  Ashton  3  records  this  Show  of  1850  from  his  own  recollections  of  it. 
Its  "  novelty  "  commenced  after  the  appearance  of  the  late  Lord  Mayor.  "  First 
of  all  came  Peace,4  white-robed  and  white-winged,  on  a  white  charger  .  .  .  and 
in  her  train  came  Europe,  Asia,  Africa  and  America  on  horse-back."  Then  the 
animals  above-mentioned,  representing  the  four  continents  —  a  horse,  carrying 
a  trophy  of  all  the  arms  of  Europe ;  a  camel  for  Asia,  an  elephant  for  Africa, 

1  The  "  pleasant  change  "  in  the  Show  for  this  year  is  recorded  in  the  Gent.  Mag.  for 
December,  1850,  p.  630. 

2  This  Illus.  Land.  News  is  preserved  in  Fairholt's  Scrapbook,  in  the  Soc.  Antiq.  library, 
vol.  ii.    A  contemporary  Order  of  Procession  may  also  be  found  there,  as  well  as  in  the  Harvard 
Library.    This  shows  no  car,  and  mentions  six  "  ancient  knights  "  mounted  and  fully  armed, 
each  attended  by  two  mounted  squires  bearing  his  battle-axe  and  mace.    There  seems  to  have 
been  no  water-procession  this  year,  the  route  to  Westminster  being  from  Guildhall  through 
Gresham-street,  Princes-street,  Lombard,  Gracechurch,  Leadenhall,  Fenchurch,  Gracechurch 
streets,  Cannon-street  East  and  West,  St.  Paul's  Churchyard,  Ludgate-hill,  Fleet-street,  and 
the  Strand;   the  return  was  made  through  the  Strand,  Fleet-street,  Ludgate-hill,  St.  Paul's 
Churchyard,  Cheapside,  and  King-street  to  Guildhall. 

3  Lord  Mayor's  Show,  p.  8. 

4  The  show  preceded  the  inauguration  of  the  first  International  Exhibition  in  1851. 


Il6  ENGLISH  PAGEANTRY 

and  two  deer  for  America;  then  came  horses  laden  with  attributes  of  Industry, 
Art,  Commerce  and  Manufactures,  as  already  related.  "  After  this  came  the 
piece  de  resistance  of  the  show.  A  car,  drawn  by  six  cream-coloured  horses,  three 
abreast,  containing  four  Sailors,  and  Britannia,  most  correctly  habited,  holding 
a  branch  of  olive,  whilst  Happiness  was  seated  on  the  summit  of  a  huge  Globe, 
flanked  on  either  side  by  a  Cornucopia." 

A  soliloquy  by  one  who  took  the  part  of  a  "  man  in  armor  "  in  the  mayoralty 
shows,  lamenting  his  lot  when  these  figures  were  abolished,  appeared  in  Punch 
this  year,1  under  the  title,  The  Lament  of  the  Man  in  Brass.  With  this  show,  we 
see  the  first  sign  of  the  new  birth  —  a  reappearance  of  the  elements  of  the  pag- 
eantic  "  triumph  "  at  its  height.  The  doom  of  the  "  armed  man  "  has  sounded. 

But  Punch's  lament  was  a  bit  premature ;  in  1851,  twenty-three  "  knights 
in  armour  "  accompanied  the  Lord  Mayor  in  procession.2  Owing  to  the  death 
of  the  Duke  of  Wellington,  there  was  no  show  in  1852;  and  in  1853,  the  men 
in  armor  were  replaced  by  personification  and  pageantic  allegory. 

1853  —  MORE  PERSONIFICATION 

"  .  .  .  For  reasons  well-known  to  everybody,  there  has  been  an  interregnum  of  twenty- 
four  instead  of  twelve  months  since  the  last  Lord  Mayor's  Show  paraded  the  streets  of  London. 
.  .  .  Alderman  Sidney,  following  in  the  footsteps  of  his  aldermanic  brother  Musgrove,  has 
lopped  off  the  absurd  portions  of  the  spectacle,  such  as  the  knights  in  armour  and  other 
things  equally  ridiculous;  and  taking  a  hint  from  the  more  tasteful  public  processions  in 
France  and  Belgium,  has  replaced  them  by  picturesque  personifications  of  '  Justice/  '  In 
dustry,'  '  Peace  and  Prosperity,'  and  so  forth,  and  by  living  representations  of  the  inhabitants 
of  all  foreign  countries. . ."  3 

The  Empire  for  12  November,  1853,  quoting  from  the  Times'  account  of  the 
show,  notes  that  "  the  pageant  was  distinguished  by  several  attractive  fea 
tures,"  and  "  was,  in  fact,  one  of  the  most  successful  that  has  taken  place  for 
some  years  past.  The  '  show,'  thanks  to  the  cooperation  of  Mr.  W.  Cooke,  of 
Astley's  Amphitheatre,  was  well  arranged,  and  in  some  respects  picturesque  .  .  ." 
In  the  Weekly  Times 4  we  read  that  "  the  committee  for  conducting  the  proceed- 


1  See  vol.  xix  (1850)  p.  206.    Cf.  ibid.,  for  a  humorous  account  of  Peace,  the  four  Conti 
nents,  Happiness,  and  Britannia,  together  with  the  rest  of  the  show.    Both  these  bits  of 
humor  are  illustrated  by  Leech. 

2  See  the  Illus.  Lond.  News,  15  November,  1851,  p.  606. 

3  Extract  from  an  account  of  the  Show  of  1853,  which  appeared  in  the  London  Weekly 
Times  for  13  November,  1853,  p.  729,  col.  i.    Cf.  the  London  Times  for  10  November,  1853, 
p.  7,  col.  3,  for  a  full  description  of  the  show;  and  the  Illus.  Lond.  News  for  12  November, 
I^53>  P-  4°5>  for  a  page-picture  of  the  procession.    The  car  of  Justice  preceded  horsemen 
representing  "  the  Nations  "  —  France,  Russia,  Germany,  Italy,  Turkey,  etc.,  —  each  bear 
ing  a  banner  of  identification.    A  cart,  drawn  by  oxen,  contained  an  Australian  digger,  fol 
lowed  by  country-men   and   maids,  representing  Australia;  and   Peace   and   Prosperity 
occupied  a  car  drawn  by  nine  horses. 

4  Issue  cited,  p.  729. 


THE  LORD  MAYOR'S  SHOW  —  Two  ANCIENT  KNIGHTS  AND  THE  MAN  IN  BRASS 


THE  LORD  MAYOR'S  SHOW  117 

ings  of  the  day  consigned  the  allegorical  representations  in  the  procession  to 
Mr.  Frederick  Fenton,  the  scenic  artist  of  Sadler's  Wells  Theatre.  .  .  .  The 
novel  part  of  the  procession,  in  which  Mr.  Cooke's  equestrian  troupe  was  seen 
to  very  great  advantage,  excited  general  admiration.  .  .  .  The  representatives 
of  North  and  South  America  were  amusingly  tattooed  and  completely  covered 
with  dabs  of  various  paints  and  occasioned  much  merriment.  What,  however, 
brought  the  laughter  of  the  people  to  a  climax,  was  the  Australian  digger  ..." 
Perhaps  this  figure  was  humorous  —  of  the  class  of  the  older  "  drolls  ";  but 
he  was  also  symbolical —  a  personification,  as  it  were,  of  Australia,  as  the  tat 
tooed  characters  were  of  North  and  South  America.  All  of  the  British  public 
were  not  amused  by  the  show,  nor  did  they  all  have  complimentary  things  to 
say  about  it;  I  can  here  only  refer  to  various  letters  in  the  Times. 

OBJECTIONS  TO  THE  SHOW  VOICED  IN  THE  "  TIMES  " 

"  A  Curate  "  protests  against  the  lavish  mayoralty  banquet; 1  "  Prisoner  " 
voices  his  complaint  of  the  show;2  a  protest  against  the  "  continuance  of  an 
absurd  and  ridiculous  display  "  appeared  from  the  committee  of  the  coal  trade; 3 
"  A  City  Broker  "  asks  "  how  long  is  this  foolery  to  be  permitted  ?  "  4  A  letter, 
signed  "Viator,"  complains  of  the  obstructions  caused  by  the  procession;5 
another,  from  a  sheriff,  mentions  the  triumph  with  many  uncomplimentary  re 
marks;6  and  the  Weekly  Times7  concludes  that  "the  utilitarian  spirit  must 
prevail  at  last;  and  as  this  partiality  for  street  pageantry  is  on  the  wane  through 
out  the  whole  of  England  —  in  Ireland  it  is  put  down  by  the  strong  arm  of  the 
law  —  we  think  that  the  Lord  Mayor's  day  may  safely  be  left  to  itself  and  to 
the  growing  sense  of  the  people  of  London  .  .  .  The  whole  thing  will  die  a  natural 
death,  or  be  consigned  to  a  desuetude,  the  natural  result  of  indifference." 

In  1856,  the  last  water  procession  took  place;  the  last  entry  in  the  Repertories 
concerning  orders  regulating  barges  on  the  Lord  Mayor's  Day  appears  this 
year.8  On  13  October,  1856,  together  with  the  usual  precept  against  squibs  and 
other  fireworks,  we  find  it  ordered  "  that  the  several  barges  to  be  rowed  on  the 
River  Thames  on  Lord  Mayor's  day  next  be  rowed  from  Southwark  bridge  and 
back  to  Blackfriars  bridge,  in  procession,  according  to  seniority,  and  that  they 


1  Journal  cited,  25  October,  1853,  p.  8,  col.  5. 

2  Ibid.,  7  November,  1853,  p.  7,  col.  6. 

3  Ibid.,  9  November,  1853,  p.  7,  col.  6. 

4  Ibid.,  10  November,  1853,  p.  10,  col.  2.    The  leader  (on  p.  6,  col.  3  of  this  issue)  is  bitter 
against  the  Show;  and  the  Weekly  Times  for  13  November,  1853,  pp.  721  and  726,  mentions 
the  performance  in  no  very  enthusiastic  terms,  reprinting  the  Times'  opinion. 

5  The  Times  for  u  November,  1853,  p.  5,  col.  4. 

6  Ibid.,  16  November,  1853,  p.  10,  col.  4. 

7  In  the  issue  for  13  November,  1853,  p.  721. 

8  Repertory  cclxi,  fol.  420. 


Ii8  ENGLISH  PAGEANTRY 

do  not  approach  too  near  this  City's  barge,  thereby  to  endanger  the  lives  of  the 
passengers."  1 

Orders  against  squibs  and  other  fireworks,  for  keeping  the  streets,  over  which 
the  procession  is  to  pass,  clear  from  obstructions,  and  for  the  usual  water-pro 
cession  were  made  in  1857 ; 2  but  the  boats  do  not  seem  to  have  been  used.  The 
Illustrated  London  News 3  records  that 

the  pageant  was  not  of  a  very  imposing  character,  being  shorn  of  much  of  its  wonted  pomp 
by  the  absence  of  the  usual  squadrons  of  dragoons.  In  point  of  fact,  it  was  little  more  than 
a  string  of  private  carriages,  interspersed  with  a  military  band  or  two,  and  slightly  diversified 
by  a  few  men  in  armour  from  Astley's.  The  ceremony  deviated  in  an  important  particular 
from  those  of  previous  years,  there  being  no  water  procession.  The  Corporation  are  no  longer 
the  only  conservators  of  the  Thames,  and  it  was  therefore  resolved  that  the  route  should  be 
entirely  upon  land. 

CONCLUSION 

By  1857,  the  Show  had  completely  fallen  from  its  high  estate  —  its  glory  is, 
indeed,  departed.  The  papers  call  it  "  little  more  than  a  string  of  private  car 
riages  ";  a  few  "  armed  men  "  indicate  but  faintly  the  spirit  of  pageantry;  the 
water-procession  —  which  dated  from  1422  —  is  no  more.  From  the  time  when 
Ned  Ward  penned  his  gentle  satire,  to  that  of  the  more  bitter  attacks  of  the 
Times  correspondents,  a  spirit  of  ridicule  hung  over  the  Show.  Gradually 
getting  less  pageantic,  it  became  little  more  than  a  procession,  the  chief  figure 
in  which — from  our  point  of  view — was  the  "armed  man"  or  "knight," 
whose  immediate  ancestor  seems  to  have  been  the  trade-figure  of  the  Armourers' 
Company  already  "  usual  "  in  i76i.4  A  connection  with  history  was  made,  in 
1815  and  1822,  by  equipping  these  figures  with  "  half-armor  "  taken  at  Water 
loo,  and  old  suits  of  armor  from  the  Tower;  but  they  seem  to  have  excited  ridi 
cule  just  the  same,  as  in  1833  we  find  Garter  King  at  Arms  protesting  against 
the  use  of  heralds  with  them.5 

In  1841,  a  ship  appeared ;  this  was  a  common  accompaniment  of  earlier  shows, 
but  such  pageantic  features  were  rare  in  the  century  and  a  half  which  lies  be 
tween  1700  and  1850.  In  the  latter  year,  Mr.  Godwin  wrote  a  letter  which  bore 
fruit  in  the  pageantry  of  1850;  but,  with  the  exception  of  the  show  in  1853,  this 
stimulation  was  deceitful,  and  a  relapse  to  "  armed  men  "  followed.  Bitter  were 
the  complaints  of  many  correspondents  in  the  Times  of  November,  1853;  the 


1  Minutes  .  .  .  of  the  Court  of  Aldermen  for  1856,  (London,  1856)  p.  72.    A  model  of  the 
last  State  Barge,  built  in  1807,  is  in  the  Guildhall  Museum. 

2  Minutes  .  .  .  of  the  Court  of  Aldermen  for  1857,  pp.  54  f.,  under  date  of  13  October,  1857. 

3  For  14  November,  1857,  p.  494. 

4  See  above,  p.  95  and  n.  3.    As  these  figures  represented  nothing  in  particular,  they  may 
hardly  be  said  to  be  pageantic;   rather  they  were  masqueraders,  from  whom,  to  be  sure,  the 
raw  material  of  the  pageantic  "  soul  "  is  drawn. 

6  See  above,  p.  no. 


THE  LORD  MAYOR'S  SHOW  119 

Show,  however,  survived  the  attacks  levelled  against  it,  and  —  as  we  shall  see 
—  editorial  opinion  has  now  changed  regarding  it. 

One  important  fact  in  the  history  of  pageantry  during  this  period  should  be 
emphasized;  in  1783,  the  show  was  carried  into  the  theatre,  and  made  the  basis 
of  a  pantomime.  The  tableaux  miiants  of  this  production  establish  a  connecting 
link  between  the  figures  carried  through  the  streets  on  floats,  and  the  historic 
"  living  pictures  "  of  earlier  American  pageantry.  Much  history  was  recalled 
in  the  1783  pantomime;  and  it  was  not  the  history  of  any  one  Company  (as  in 
the  Lord  Mayor's  Show  itself)  but  rather  of  London,  in  which  all  Companies 
and  every  citizen  could  take  a  just  pride.  Elements  of  mythology,  allegory, 
and  symbolism  lent  their  aid;  and  the  set  of  the  final  tableau  recalled  the  street- 
pageant,  or  triumphal  arch,  of  the  Elizabethan  "  royal-entry." 

In  the  years  following  1857,  the  Lord  Mayor's  Show  struggled  from  the  depths 
into  which  it  had  fallen;  the  course  of  this  regeneration  we  shall  now  trace. 

§  4.    THE  RENAISSANCE  OF  THE  PAGEANTIC  SHOW, 

1858-1919 

In  spite  of  the  ridicule  and  anger  it  had  excited,  the  Lord  Mayor's  Show  con 
tinued  to  exist  even  after  the  water-procession  was  abolished.  Together  with 
orders  against  fireworks,  on  19  October,  1858:  "it  is  ordered  that  the  Com 
missioner  of  the  City  Police  do  take  effectual  care  that  the  several  public  streets 
through  which  the  procession  is  to  pass  on  Lord  Mayor's  day  next  be  kept  free 
and  clear  from  all  obstructions  and  hindrances  to  the  same."  l  Of  what  the 
Show  consisted,  we  cannot  be  certain;  but  it  did  not,  during  the  next  decade, 
free  itself  from  the  ridicule  with  which  it  was,  as  we  have  seen,  often  greeted 
during  the  preceding  century  and  a  half;  for,  in  1867  it  was  again  subjected  to 


1  Minutes  .  .  .  of  the  Court  of  Aldermen  for  1858,  pp.  56  f.    (The  same  notice  appeared  in 


In  The  Illustrated  News  of  the  World  for  20  November,  1858,  the  arrival  of  the  procession 
at  Westminster  is  pictured  (p.  328).  The  procession  this  year  showed  "  nothing  novel  " 
(ibid.,  for  13  November,  p.  307)  which  indicates  how  quickly  the  public  had  got  used  to  the 
absence  of  a  water-procession. 

Regarding  the  disposal  of  the  State  Barge,  we  read  in  the  Minutes  .  .  .  of  the  Court  of 
Aldermen  for  1859  (London,  1859),  p.  21,  on  22  March:  "  Report,  General  Purposes  Com 
mittee,  upon  the  reference  to  consider  the  letter  from  Mr.  Comptroller  by  direction  of  the 
City  Lands  Committee,  to  ascertain  whether  this  Court  desire  that  the  housing  of  the  Lord 
Mayor's  State  Barge  should  be  still  continued,  and  recommending  that  the  Barge  should  be 
given  over  to  the  City  Lands  Committee  to  be  sold.  Read,  approved  and  ordered."  (Cf. 
ibid.,  p.  1  6.)  "  The  last  of  the  Company's  Barges  "  forms  the  frontispiece  to  Prideaux, 
Memorials  of  the  Goldsmiths'  Company,  vol.  ii;  on  the  barge  of  the  Skinners'  Company,  see 
Wadmore,  pp.  137  f.  —  after  spending  £257,  145.  on  it  for  repairs  in  1855,  the  Company 
sold  it,  in  1858,  for  £75. 


120  ENGLISH  PAGEANTRY 

satire,1  and  its  abolition  was  threatened.  More  than  ten  years  later,  however, 
the  Lord  Mayor  and  Sheriffs'  Committee  was  meeting;  and  from  their  manu 
script  Minutes  of  1879  we  get  some  interesting  information.2  At  the  meeting  of 
15  October,  "  a  letter  was  read  from  the  Surveyor  General's  Department  of  the 
War  Office,  acknowledging  the  receipt  of  a  letter  from  the  Remembrancer  re 
questing  the  issue  on  loan  of  armour  to  be  used  in  the  procession  on  the  loth 
November,  and  in  reply  calling  attention  to  a  letter  from  that  Office  in  1877 
pointing  out  that  the  valuable  specimens  of  armour  which  were  then  lent  had 
been  seriously  damaged,  and  suggesting  that  imitation  sets  of  armour  of  modern 
manufacture  might  be  obtained  for  future  use,  and  asking  whether  the  Lord 
Mayor  could  not  arrange  to  dispense  with  the  valuable  armour  asked  for."  3 
As  men  in  armour  were  hired  from  Messrs.  Sanger  and  Son,  and  among  the  terms 
we  find  "  Man  in  armour,  lance  horse  and  cloth  for  horse  ...  £6;  for  armour 
for  horse  £4,  los  extra;  for  scale  armour,  £4  extra,"  we  may  assume  that  the 
suggestion  of  the  War  Office  was  acted  upon.4 

The  keepers  of  Epping  Forest  announced  their  intention  of  marching;  and 
Mr.  Hart  (the  Chairman  of  the  Coal  and  Corn  and  Finance  Committee)  wrote 
to  ask  if  "  the  Committee  could  introduce  anything  in  the  procession  illustrating 
the  purchase  of  Burnham  Beeches  by  the  Corporation,  and  suggesting  that  a 
banner  or  banners  should  be  carried  by  hired  men."  5  The  Metropolitan  Board 
of  Works  was  invited  to  send  a  detachment  of  firemen  to  walk  in  the  procession,6 
and  the  Band  and  Boys  of  the  training-ship  Exmouth  were  authorized  to  take 
part  in  it. 

The  Commander-in-Chief  was  asked  to  allow  "  about  50  of  the  survivors  of 
the  detachment  of  soldiers  engaged  at  Rorke's  Drift  to  attend  in  the  procession 
on  the  ensuing  Lord  Mayor's  Day  "  but  the  request  was  refused,  as,  with  some 
exceptions,  the  defenders  of  Rorke's  Drift  were  still  serving  abroad.7  This  is 
an  interesting  effort;  for  it  shows  a  tendency  to  substitute  actual  historical 
figures  for  the  allegory  which  used  to  be  so  common  in  these  shows.  Is  not  a 
veteran  more  valuable,  in  rousing  a  spirit  of  pride,  than  a  draped  figure  repre 
senting  Glory  ? 


1  See  The  Prologue  and  Epilogue  to  the  Lord  Mayor's  Show  of  1867,  signed  W.  H.  H.,  but 
published  anonymously  that  year,  at  London.    This  is  a  humorous  satire  on  the  threatened 
abolition  of  the  Show,  and  a  lament  for  its  past  glories.    The  pamphlet  is  preserved  in  the 
Guildhall  Library. 

2  Guildhall  MS.  517. 

3  MS.  cit.,  pp.  21  f. 

4  Twenty  men  in  armour  with  horses,  lances,  clothes  for  horses,  etc.,  at  £6  apiece  were 
hired,  (ibid.,  p.  33).    The  route  of  the  procession,  to  and  from  Westminster  Hall,  is  given 

(P-  3°). 

6  This  suggestion  was  adopted,  (ibid.,  p.  34). 

6  Ibid.,  p.  34- 

7  Ibid.,  pp.  42  and  52.    No  vocal  music  was  provided  for  the  dinner,  (pp.  20  and  44.) 


THE  LORD  MAYOR'S  SHOW  1 21 

1 88 1  —  PAGEANTS  AND  INTERNATIONAL  COURTESY 

In  1 88 1,  there  were  many  triumphal  arches,  and  the  decorations  were  un 
usually  splendid.1 

An  elaborate  and  imposing  structure  was  erected  at  the  corner  of  the  Royal  Exchange- 
avenue.  A  large  pavilion  had  been  constructed  here,  in  front  of  which  the  procession  halted, 
in  order  that  the  inhabitants  of  the  ward  might  present  an  address  through  their  representa 
tives  to  the  Lord  Mayor.2  The  flag  of  the  United  States  was  displayed  at  various  points,  and 
it  formed  a  feature  in  the  procession,  being  escorted  by  a  guard  of  honour  .  .  .  Upon  arrival 
at  Palace  Yard,  Westminster,  the  massed  bands  played  the  American  National  Anthem, 
'  The  Star-Spangled  Banner '  .  .  .  The  procession  was  this  year  singularly  free  from  eccentric 
features,  which  have  the  one  merit  of  pleasing  the  lower  elements  hi  a  London  mob  .  .  .  The 
contingent  of  firemen,  the  boys  from  the  Netley,  and  the  American  flag,  called  forth  general 
enthusiasm. 

1882  —  THE  LAST  TIME  TO  WESTMINSTER  HALL 

In  1882,  the  mayor  went  to  Westminster  Hall  to  take  his  oath,  for  the  last 
time,  although  his  procession  has  entered  the  neighboring  city  often  since  then. 
Nothing  particular  marked  this  show,  which  was  received  "  with  all  the  cheering 
and  goodhumour  which  is  customary."  The  thoroughfares  were  gay  with  flags, 
and  many  of  them  were  spanned  by  triumphal  arches.3 

1883  —  THE  MAYOR  TAKES  HIS  OATH  AT  THE  NEW  LAW  COURTS  - 
THE  COLONIES  IN  PAGEANTS 

The  next  year,  we  find  the  forerunner  of  a  new  era  in  the  history  of  this  civic 
pageant.  In  1883,  the  mayor  took  his  oath  at  the  new  Law  Courts  for  the  first 
time ; 4  and  the  procession  which  accompanied  him 

contained  no  men  in  armour,  or  meaningless  fancy  costumes,  but  it  included  Grace  Darling's 
boat,  a  life-boat  with  its  crew,  and  a  rocket  apparatus,  for  saving  lives  from  shipwreck;  a 
trophy  of  the  Fisheries,  composed  of  nets,  spars  and  oars,  ropes,  buoys,  baskets  and  other 
fishing-gear,  from  the  late  Exhibition;  and  several  trophies  of  India  and  the  Colonies,  which 

1  Cf.  the  Illus.  Lond.  News  for  12  November,  1881,  p.  470,  from  which  I  quote. 

2  Cf.  the  1913  Baynard  Castle  —  below,  p.  138. 

3  Cf.  Illus.  Lond.  News  for  18  November,  1882,  p.  530.    Perhaps  the  glamour  of  the  Show 
this  year  was  dimmed  by  the  return  of  soldiers  from  the  war  in  Egypt  (cf .  the  progress  of  the 
Horse  Guards  through  London,  ibid.,  for  28  October,  1882,  p.  440) ;  at  any  rate  the  Show  had 
no  new  features. 

4  The  Handbook  of  Ceremonials,  p.  24,  n.  2,  records  that  before  1881  the  Lord  Mayor  was, 
in  accordance  with  the  charter  of  37  Henry  III,  presented  to  the  Barons  of  the  Exchequer, 
and  took  the  oath,  or  declaration,  in  that  Court.    Since  1881,  he  has  been  presented  to  Judges 
of  the  King's  Bench  division,  and  makes  the  declaration  before  them.     (This  volume  cites 
Acts  44  &  45  Vic.,  cap.  68,  sec.  17.) 

On  the  mayor's  going  to  the  new  Law  Courts  for  the  first  time,  see  the  Illus.  Lond.  News 
for  17  November,  1883,  p.  478;  various  pictures  of  this  year's  Show  may  be  found,  ibid., 
P-  473- 


122  ENGLISH  PAGEANTRY 

were  original,  if  not  quite  appropriate  in  design.  That  of  "  India  "  consisted  of  natives  stand 
ing  among  palm-trees,  with  a  stuffed  tiger  above,  followed  by  two  elephants;  that  of  "  Can 
ada,"  a  backwoodsman,  amidst  pine-logs  and  piles  of  corn-sacks,  with  beavers  and  bears; 
that  of  "  Australia,"  two  red-shirted  station-hands,  with  fleeces  of  sheep  and  bags  of  wool; 
a  kangaroo  and  an  emu,  and  a  species  of  pelican,  being  perched  a  little  higher.  The  vehicles 
upon  which  these  colonial  "  exhibits  "  were  set  up,  passed  along  the  street;  and  they  were 
succeeded  by  one  which  conveyed  what  was  supposed  to  be  meant  as  a  representation  of  the 
supply  of  frozen  fresh  mutton  from  New  Zealand.  This  was  simply  a  row  of  twenty  or  thirty 
sheep  carcasses,  hanging  up  in  much  the  same  way  as  they  do  at  a  butcher's  shop.  The 
Committee  of  the  Common  Council,  and  others,  appointed  by  the  Lord  Mayor  and  Sheriffs 
to  arrange  the  procession,  had  given  no  sanction  to  any  such  exhibition;  and  it  was  certainly 
not  provided  by  any  person  officially  connected  with  the  New  Zealand  Government  Agency. 
The  remaining  parts  of  the  procession  were  of  the  ordinary  character,  but  there  was  a  greater 
show  of  banners  than  usual,  and  more  bands  of  music;  the  engines  of  the  Fire  Brigade,  with 
their  firemen,  and  the  sailor  boys  of  the  Exmouth,  made  a  very  good  figure.1 

1884 — A  FORECAST  OF  MODERN  PAGEANTRY 

The  emphasis  which  modern  historical  pageantry  places  upon  the  educational 
value  of  the  past,  is  foreshadowed  by  the  publication  of  a  pamphlet  in  connection 
with  the  Lord  Mayor's  Show  of  i884.2  The  preface  of  this  pamphlet  reads  as 
follows:  "  The  publication  of  an  Historical  Pamphlet  containing  extracts  from 
Standard  Works  on  matters  connected  with  the  forthcoming  Procession,  de 
mands  a  few  words  of  explanation.  It  is  only  natural  that  many  readers  may 
have  forgotten  some  of  the  '  memorable  incidents  '  they  were  taught  in  their 
school  days,  and  the  '  raison  d'etre  '  of  the  publication  of  these  extracts  is  to 
recall  them  to  their  recollection  by  depicting  some  of  the  scenes  connected  with 
the  life  and  history  of  our  renowned  ancestors. 

"  The  purpose  of  this  year's  '  Show  '  is  to  bring  before  the  minds  of  the  public 
some  of  the  glorious  traditions  of  our  ancient  city  —  to  show  how,  from  time 
almost  immemorial,  the  Corporation  has  been  both  loyal  to  the  Crown  and  true 
to  the  People." 

How  this  purpose  was  carried  out  is  told  in  the  Illustrated  London  News  for 
15  November,  i884.3  "  Most  of  the  elaborate  devices  of  the  show  were  illustra 
tions  of  national  and  civic  history  or  tradition.  There  was  a  car  drawn  by  twelve 


1  Illus.  Lond.  News  for  17  November,  1883,  p.  478.    At  the  banquet  in  the  evening  M. 
Waddington,  Mr.  Gladstone,  and  Count  de  Lesseps  were  among  the  speakers. 

2  Extracts  from  Maitland's  History  of  London,  Thornbury's  Old  and  New  London,  S  tow's 
Survey,  Allen's  History  of  London,  etc.,  compiled  by  Charles  G.  Nottage,  inform  the  citizens 
of  "  a  few  memorable  incidents  in  our  civic  history."    (The  Rt.  Hon.  George  S.  Nottage  was 
mayor  this  year.) 

3  For  illustrations  of  the  Indian  Empire  Trophy,  the  Nile  Expedition  Boat,  the  Old  Bow 
Church  as  before  the  Great  Fire,  and  various  Kings  and  Queens,  with  Barons,  Knights,  and 
Crusaders,  see  this  issue  of  the  Illus.  London  News,  p.  469.    The  citation  is  from  pp.  469  and 
470. 


THE  LORD  MAYOR'S  SHOW  123 

ponies,  with  Dick  Whittington  beside  the  Highgate  mile-post  listening  to  Bow 
bells.  .  .  Then  followed  a  model  of  Bow  Church  as  it  was  in  old  times  with  bell- 
ringers  and  a  banner,  and  the  figure  of  Sir  Richard  Whittington  in  all  his  civic 
dignity.  William  the  Conqueror  was  represented,  Richard  Cceur  de  Lion, 
Richard  II  and  Queen  Elizabeth,  all  mounted  and  costumed  after  the  habits  in 
which  they  lived.  .  .  Lord  Mayor  Wai  worth  standing  over  the  slain  Wat  Tyler 
provoked  groans  and  hisses.  A  fairer  spectacle  was  the  car,  drawn  by  four 
horses,  carrying  a  raised  dai's,  upon  which  was  a  casket  containing  a  fac-simile 
of  the  City's  First  Charter,  A.D.  1067,  guarded  by  citizens.  .  .  A  Nile  boat, 
similar  to  those  sent  out  to  Lord  Wolseley,  was  exhibited  properly  manned.  .  . 
There  was  a  fine  herd  of  camels,  and,  in  recognition  of  our  Indian  Empire,  Mr. 
Sanger  provided  also  elephants  ridden  by  representatives  of  Rajahs,  and  a  car 
containing  a  picturesque  group  surmounted  by  a  figure  symbolical  of  India.  .  ." 
This  show — having  a  definite  purpose  —  foreshadows  the  "educational 
pageant  "  of  our  own  day.  One  cannot  assume  that  much  stress  was  laid  on 
historical  accuracy  in  this  procession;  but  the  emphasis  on  history  is  noteworthy. 
The  past  of  one  Company  was  glorified  often  enough  in  the  seventeenth  century; 
here  the  past  of  the  City  as  a  whole  is  brought  before  the  people ;  and  suggestions 
of  the  imperial  greatness  of  Britain  are  made  in  the  Nile  boat,  and  the  symbolical 
representation  of  India.  The  figures  of  the  sovereigns  furnish  an  element  of 
chronicle-history. 

1885  —  AN  HISTORICAL  ELEMENT  IN  A  TRADE-PAGEANT 

In  1885,  the  Gold  and  Silver  Wyre-Drawers  took  part  in  the  civic  procession; 
as  this  was  the  first  time  that  the  Company  had  participated  in  the  annual  show, 
"  a  great  effort  was  made  to  signalize  the  event  in  a  fit  and  worthy  manner,  and 
thanks  to  the  .  .  .  generosity  of  Past-Master  George  Kenning,  who,  at  his  own 
expense,  fitted  up  on  Trolleys,  a  most  picturesque  and  realistic  representation 
of  the  Art  of  Gold  and  Silver  Wyre-Drawing,  as  practiced  at  the  time  when  the 
Company  was  Incorporated,1  a  display  was  made  which  was  generally  pronounced 
to  be  the  chief  feature  of  the  Show."  2 

1889  —  THE  SEVEN  HUNDREDTH  ANNIVERSARY  OF  THE  MAYORALTY 

In  the  City  Press  for  30  March,  1889,  was  printed  a  report  of  a  meeting  of  the 
Court  of  Common  Council,  during  which  the  matter  of  celebrating  the  seven 
hundredth  anniversary  of  the  mayoralty  was  discussed,  and  at  which  it  was  re 
solved  "  that  the  Court ...  do  commemorate  the  event  in  a  suitable  manner  ..." 
The  show  for  this  year  was  largely  historical,  though  there  were  no  cars;  and 
while  the  account  of  the  procession  in  the  Illustrated  London  News  does  not  men- 

1  /.  e.,  1623  — see  Stewart,  Hist.  Company  of  Gold  and  Silver  Wyre-Drawers,  p.  32. 

2  Ibid.,  p.  102. 


124  ENGLISH  PAGEANTRY 

tion  the  anniversary,  one  cannot  help  feeling  that  this  was  the  form  the  celebra 
tion  took.1  The  show  included  delegates  from  le  federation  des  qfficiers  et  sous- 
qfficiers  de  sapeur-pompiers  de  France  et  d'Algerie,  as  well  as  English  firemen  from 
twenty-nine  provincial  fire-brigades.  The  band  and  boys  of  the  training-ship 
War  spite  appeared  in  line;  the  Worshipful  Company  of  Makers  of  Playing 
Cards  marched  with  horsemen,  "  representing  Knaves  of  the  four  suites  (sic) 
of  playing  cards,  in  the  costume  shown  upon  the  earliest  existing  playing  cards 
—  temp,  about  A.D.  1460,"  who  bore  the  Company's  banners.  The  Master  of 
the  Worshipful  Company  of  Gold  and  Silver  Wyre  Drawers  rode  in  a  state 
carriage,  escorted  by  two  men  in  the  costumes  of  the  supporters  of  the  arms  of 
the  Company.  "  The  liveries  and  costumes  are  emblematical  of  the  Gold  and 
Silver  Wyre  Drawers'  craft." 

Groups  illustrating  the  Sports  and  Pastimes  of  Old  England  followed  other 
marching  companies.  A  Hawking  Party,  in  the  dress  of  1200;  Shooting  at  the 
Butt,  1300;  Quarterstaff,  Tilting  at  the  Ring,  the  Quintain,  1300;  Maying, 
1300;  Preparing  for  the  Tournament,  showing  the  Queen  of  Beauty  with  her 
Maids  of  Honour,  Heralds,  Trumpeters,  and  armed  Knights  followed  by  their 
Squires;  the  Chase;  the  Lord  of  Misrule  and  his  Court — mummers,  mu 
sicians,  jesters,  etc.  —  were  all  shown.  Many  of  these  groups  were  costumed 
after  illustrated  MSS.  in  the  British  Museum;  this  suggests  the  desire  for  histor 
ical  accuracy  which  is  inseparable  from  a  truly  "  educational  "  pageant. 

Then  came  various  English  worthies  who  traced  descent  from  Lord  Mayors 
or  Aldermen ;  they  included : 

1533  —  Queen  Elizabeth  —  Ancestor,  Sir  Geoffrey  Bullen,  Lord  Mayor,  A.D.  1457.  Her 
canopy  supported  by  Elizabethan  gentlemen. 

1561  — Lord  Bacon  —  Ancestor,  Sir  Thomas  Coke,  Lord  Mayor,  A.D.  1462.  Supported 
by  yeomen  of  the  period. 

1594  —  John  Hampden  —  Ancestor,  Ralph  Warren,  Lord  Mayor,  A.D.  1536.  Supported 
by  a  party  of  Puritans. 

1599  —  Oliver  Cromwell  —  Ancestor,  Sir  Thomas  Marfin,  Lord  Mayor,  A.D.  1518.  Sup 
ported  by  soldiers  of  the  Commonwealth. 

1650  —  Duke  of  Marlborough  —  Ancestor,  Sir  Thomas  Leigh,  Lord  Mayor,  A.D.  1558. 
Supported  by  soldiers  of  the  period. 

1676  —  Sir  Robert  Walpole  —  Ancestor,  Sir  Edward  Barkham,  Alderman,  A.D.  i58o.2 
Supported  by  Lords  (temp.  Queen  Anne). 


1  I  can  find,  in  the  index  of  the  Times,  no  other  pageant  which  celebrates  this  anniversary. 
Cf.  the  Ittus.  Land.  News  of  16  November,  1889,  p.  613,  for  a  picture  of  the  Queen  Elizabeth 
of  this  show;   the  "  Procession  of  Lord  Mayors  of  London  "  is  illustrated  ibid.,  pp.  628  and 
629.    An  account  of  Lord  Mayor's  Day,  in  much  the  same  language  as  that  used  in  the  official 
program,  may  be  found  ibid.,  p.  627. 

2  A  Sir  Edward  Barkham  was  mayor  in.  1621.    See  the  Bibliography,  under  Middleton, 
sub  anno  1621 :   The  Sun  in  Aries.    This  may  have  been  the  son  of  the  alderman. 


THE  LORD  MAYOR'S  SHOW  125 

1708  —  Earl  of  Chatham  —  Ancestor,  Sir  Thomas  Leigh,  Lord  Mayor,  A.D.  1558.  Sup 
ported  by  Citizens  (temp.  George  III) . 

1718  —  General  Marquis  of  Granby  —  Ancestor,  Sir  Baptist  Hicks,  Alderman,  A.D.  1611. 
Supported  by  soldiers  of  the  Whitehorse  Hanoverian  Regiment. 

After  this  group  came  a  "  Procession  of  Lord  Mayors,"  showing  "  one  repre 
sentative  mayor  of  each  of  the  seven  centuries  of  the  Mayoralty,  supported  by 
four  Halberdiers  of  the  period.  This  series  is  interesting  as  exemplifying  the 
strange  and  peculiar  changes  in  the  colour  and  shape  of  the  Mayoral  robes." 
The  Mayors  who  marched  were:  Sir  Henry  Fitzalwyn,  (1190);  Sir  Gregory  de 
Rockesby,  (1285);  Sir  Richard  Whittington,  (1397);  Sir  Edmund  Shaw,  (1480); 
Sir  John  Gresham,  (1547);  Sir  William  Craven,  (1611);  and  John  Wilkes, 
(I775)j1  then  followed  the  Aldermen,  Sheriffs,  the  late  Lord  Mayor,  and  the 
new  one,  with  much  splendor. 

1890 — THE  SHOW  INCLUDES  CARS  AND  SYMBOLISM 

Two  steam  fire-engines  and  a  detachment  of  men  from  various  fire-brigades 
followed  the  mounted  band  of  the  Royal  Artillery  in  the  Lord  Mayor's  Show  of 
i89o.2  After  them  came  the  band  and  cadets  of  the  training-ship  War  spite, 
followed  by  "  a  fully  equipped  life-boat  ...  on  its  transportation  carriage  .  .  . 
drawn  by  eight  horses."  The  Worshipful  Companies  of  Pattenmakers,  Clock- 
makers,  Poulters,  and  Barber-Surgeons  followed;  then  came  cars  "  emblematic 
of  the  Markets  of  the  Corporation  of  the  City  of  London."  Four  city  pages 
marched  between  each  two.  The  first  car,  "  Fruits  and  Flowers,"  contained 
figures  of  Pomona,  the  goddess  of  fruit,  and  Flora,  the  goddess  of  flowers,  with 
their  attendants;  it  was  drawn  by  six  horses,  and  accompanied  by  gardeners. 
The  second,  "  Fish,  Game  and  Poultry,"  showed  "  Neptune  borne  by  sea-horses, 
Sportsmen,  trophies  of  game,  poultry,  etc."  It,  too,  was  drawn  by  six  horses; 
and  fishermen  and  gamekeepers  were  in  attendance.  The  third  car  was  "  typical 
of  the  Central  Markets,"  and  carried  a  shepherd  and  a  shepherdess,  surrounded 
by  trophies;  this  car  was  also  drawn  by  six  horses,  and  was  accompanied  by 
farm-laborers. 

Then  came  survivors  of  the  Crimean  War,  in  thirty  carriages,  each  group 
indicated  by  a  banner  variously  inscribed:  Crimean  Heroes,  1854-1856;  Alma, 
Sept.  20th,  1854;  Balaklava,  October  2$th,  1854;  Inkerman,  Nov.  5th,  1854,  and 
Sevastopol  —  Peace  —  April  2$th,  1856.  Beside  these  veterans  there  rode  the 
two  trumpeters  who  sounded  the  charge  at  Balaklava.  Here  were  no  lay- 
figures  dressed  up  to  represent  historical  characters  —  but  men  who  had  greeted 


1  The  dates  are  those  of  the  program. 

2  My  account  is  based  on  the  Official  Program  of  this  year.    The  five  cars  in  this  show  are 
illustrated  in  the  supplement  to  the  City  Press  for  12  November,  1890,  p.  2.    "  The  Pageant  " 
is  described  in  the  same  issue,  p.  3. 


126  ENGLISH  PAGEANTRY 

History  herself,  and  put  their  names  in  the  book  she  is  always  writing,  though 
they  were  privates,  many  of  them,  and  obscure.  Veterans  were  sought  in  1879, 
as  we  have  seen;1  they  appeared  in  several  subsequent  pageants2;  not  as  a 
show,  but  that  the  public,  gazing  on  men  who  had  fought  for  their  country, 
might  be  awakened  to  a  keener  sense  of  her  glory,  and  a  deeper  love  for  her 
institutions.  Such  figures  as  these  must  have  done  a  great  deal  to  raise  this 
annual  civic  triumph  from  the  depths  into  which  it  had  fallen;  we  laugh,  per 
haps,  at  the  "  ancient  knight,"  -  but  we  do  not  smile  at  the  old  soldier. 

After  more  military  bands  came  a  car  "  representing  the  Arts."  The  central 
figure  here  was  Music,  who  was  surrounded  by  the  nine  Muses,  and  busts  of 
great  composers.3  This  float,  likewise,  was  drawn  by  six  horses,  and  was  ac 
companied  by  four  people  in  the  garb  of  ancient  Greek  citizens.  Ten  halberdiers 
in  derm-armor  followed;  then  came  a  car  entitled  "The  Colonies,"  in  which 
sat  the  "  figure  of  Australia,  surrounded  by  figures  emblematic  of  our  colonies, 
supported  on  either  side  by  heralds  of  England,  Ireland,  Scotland,  and  Wales. 
The  car  drawn  by  six  dark-brown  horses,"  was  "  accompanied  by  Colonists  and 
Indian  Mahouts."  After  officials  of  the  city,  the  late  Lord  Mayor,  another  band, 
and  the  city  trumpeters,  came  the  Lord  Mayor  in  his  state  chariot,  bringing  the 
procession  to  a  close. 

1891  —  CARS,  A  SHIP;   HISTORY  AND  TRADE 

Fire-engines;  a  life-boat;  a  car  emblematical  of  the  Guilds  and  City  of 
London  Institute ;  another  car  carrying  the  model  of  an  Elizabethan  ship  — 
emblematical  of  Queenhithe  (the  ancient  port  of  London) ;  a  car  emblematical 
of  the  Principality  of  Wales,  with  Welsh  girls  in  ancient  and  modern  costumes, 
bards  and  Druids  upon  it;  a  car  displaying  the  Welsh  industries  of  Iron,  Tin, 
Coal,  and  Slate;  a  car  showing  Edward  I  presenting  the  first  prince  of  Wales 
to  the  Welsh  chieftains  at  Carnavon  in  1284,  accompanied  the  Right  Honorable 
David  Evans,  Lord  Mayor,  in  1891. 4 

1892  —  TRADE,  HISTORY,  AND  ALLEGORY;   CARS 

The  next  year,  after  the  marching  Companies,  came  a  car  of  the  Fruiterers, 
with  a  trophy  of  fruit  and  flowers,  drawn  by  six  horses,  and  escorted  by  carters 
in  costume.  The  second  car,  furnished  by  the  Gold  and  Silver  Wyre-Drawers, 
showed  seven  distinct  branches  of  their  trade,  while  specimens  of  their  work 


1  Above,  p.  120. 

2  Cf.  e.  g.,  the  Lord  Mayor's  Show  of  1906;  the  Columbus  Day  parade  at  Boston  in  1912. 
Who  can  doubt  that  future  pageantry  will  make  much  of  those  who  fought  the  Great  War 
just  ended  ? 

3  The  next  thing  to  personification. 

4  See  the  Official  Program  for  this  year. 


THE  LORD  MAYOR'S  SHOW  127 

formed  the  decorations.  Both  carters  and  workers  were  in  the  costume  of  temp. 
James  I.  The  London  and  Provincial  Fire-Brigades  brought  a  "  Manual  Fire 
Engine,  dated  1852,"  and  one  of  the  hand-squirts  used  at  the  Great  Fire  of 
London  in  1666,  together  with  a  steam  fire-engine  of  1892.  A  car,  entitled 
"  Commerce  and  the  Port  of  London,"  showed  an  "  emblematical  figure  of 
Commerce,  with  Cornucopia  and  cereals,  surrounded  with  groups  representing 
the  various  countries.  Sailors  and  Porters  "  were  followed  by  two  merchants 
on  horseback.  Then  came  a  car  "  emblematical  of  the  Goldsmiths'  craft," 
drawn  by  six  horses  which  were  led  by  carters  in  the  costume  of  I56I.1 

1895  —  TRADE,  HISTORY,  SYMBOLISM,  AND  CARS 

Again,  in  1895,  the  Company  of  Fruiterers  furnished  a  car-  'Trophy  of 
Fruit  and  Flowers."2 — The  Leathersellers  brought  "forty  working  Tanners, 
Lime  Workers,  Skinners,  Leather  Dyers, . . .  carrying  implements  of  their  trade," 
and  a  "  Car:  containing  a  trophy  of  various  Leathers  and  Workmen.  A  Leather 
Shaver  at  his  beam,  shaving  a  skin;  a  Leather  Finisher  graining  and  setting  a 
skin;  a  Shoemaker  at  work,  and  a  Harness  Maker  stitching  a  saddle.  The  Car 
covered  with  Skins,  Heads  of  Animals,  and  Crocodiles,  and  canopied  and  fes 
tooned  with  Hides  and  Skins  and  surmounted  by  the  Crest  of  the  Company." 

The  band  and  cadets  of  the  Warspite,  together  with  detachments  of  firemen, 
appeared  again;  also  the  Epping  Forest  Keepers  and  their  brethren.  What  is, 
however,  of  more  interest  to  us,  is  a  group  of  former  Lord  Mayors  on  horseback, 
each  representing  his  epoch.  There  were  six:  Sir  Richard  Whittington,  1406; 
Sir  John  Gresham,  1547;  Sir  John  More,  1612  ;3  Sir  Thomas  Middleton,  1613; 
Brass  Crosby,  Esq.,  1771;  Samuel  Birch,  Esq.,  1814.  Five  attendants  and  a 
banner-bearer,  carrying  his  arms,  escorted  each  magistrate;  St.  George  of  Eng 
land  followed  them — he  rode  on  horseback,  attended  by  two  esquires  and 
twelve  mounted  knights  in  armor.4 

Two  cars,  representing  South  Africa  and  India,  followed.  The  first  contained 
gold  and  diamond  miners,  African  hunters  and  natives;  it  was  escorted  by  six 
mounted  Cape  Volunteers  in  the  uniform  of  1853.  The  other —  India  Past  and 
Present  —  showed  Sir  Thomas  Smyth,  founder  of  the  East  India  Company, 
with  two  soldiers  in  the  uniform  of  the  East  India  Volunteers.  A  Rajah  in  his 


1  Order  of  Procession  for  this  year. 

2  This,  and  the  other  cars  of  the  procession,  are  illustrated  in  the  Official  Program. 

3  The  dates  are  those  of  the  program.    Reference  to  the  Bibliography,  under  Dekker, 
sub  anno  1612:    Troia  Nova  Triumphans,  will  show  that  the  mayor  that  year  was  Sir  John 
Swinerton.    Jordan's  Show  for  1681  —  London's  Joy  —  was  written  for  Sir  John  Moore. 

4  These  figures  die  hard;  but,  when  made  symbolic,  or  attached  to  a  pageantic  figure  — 
as  St.  George  undoubtedly  is  —  they  become  more  closely  related  to  pageantry,  less  mere 
masqueraders. 


128  ENGLISH  PAGEANTRY 

native  costume;    Indian  merchants  and  the  products  of  Indian  workmanship 

appeared  on  the  car,  which  was  escorted  by  naval  officers  in  the  uniform  of  1808. 

Here  we  have  trade  and  symbolism  on  pageant-cars,  or  floats ;   and  between 

them  an  historical  parenthesis,  as  it  were,  of  equestrian  mayors,  with  St.  George. 

1896  —  THE  HISTORY  or  UNIFORMS 

In  1896,  the  car  "  England  and  her  Heroes  "  showed  various  army  uniforms 
of  different  epochs;  another  car  contained  men  in  the  uniforms  of  an  admiral 
and  sailors  of  the  early  nineteenth  century;  another  showed  "  uniforms  of  vari 
ous  regiments  in  the  early  part  of  the  present  [i.  e.,  the  nineteenth]  century, 
with  mounted  gun."  A  stage-coach,  "  with  ladies  and  gentlemen,  guards  and 
coachman,  in  costumes  of  1796,"  preceded  a  motor-car —  "  old  times  "  being 
thus  contrasted  with  the  present.  The  last  "  float  "  in  this  show  carried  a 
mounted  Maxim  gun,  and  men  in  the  uniforms  of  I896.1  This  is  what  might 
be  called  "  expository  history  "  -  it  is  interesting  to  observe  how  far  from  a 
guild,  or  from  London  itself,  this  show  has  taken  us.  It  can  hardly  have  awak 
ened  civic  pride;  it  appeals  rather  to  a  sense  of  national  glory.  These  shows 
were  preparing  the  way  for  the  seed  which  Mr.  Louis  N.  Parker  was  soon  to 
plant; 2  it  is  probable  that  the  emphasis  on  history —  both  civic  and  national, 
represented  by  former  Lord  Mayors  or  by  the  uniforms  of  a  century  ago  —  had 
much  to  do  with  the  appreciation  of  Mr.  Parker's  work,  which  has  little  else  in 
common  with  the  kind  of  pageantry  we  have  been  considering. 

1901  —  TRADE,  SYMBOLISM,  AND  A  TOUCH  OF  HISTORY 

There  were  three  cars  in  the  1901  Show:  the  first  illustrated  the  trade  and 
commerce  of  London  in  the  twelfth  century;  the  second  symbolized  the  Com 
monwealth  of  Australia,  and  was  escorted  by  stock-riders;  while  the  third 
represented  the  methods  of  weighing  in  use  from  the  earliest  times  —  brought 
to  England  by  the  guilds  which  united  to  form  the  Grocers'  Company.3  This 

1  See  the  Order  of  Procession,  [which  has  been  reprinted  in  Mellin's  History  of  the  Lord 
Mayor's  Show  —  a  pamphlet  by  Eric  Broad  (London,  1896)]. 

2  It  is  due  to  Mr.  Parker  to  say  that  he  disclaims  any  influence  from  the  Lord  Mayor's 
Show.    But  however  little  they  have  affected  him,  there  is  small  room  for  doubting  that  the 
people  —  at  least  in  part  —  appreciated  his  work  because  of  the  training  received  at  these 
processions.    Both  brought  the  past  to  the  present;   the  Parkerian  "  folk-play,"  or  pageant, 
did  so  in  a  more  artistic  fashion. 

3  This  car  is  illustrated  in  a  four-leaf  pamphlet  among  the  broadsides  in  the  Guildhall 
Library,  entitled  "  Why  the  Car  of  the  Grocers'  Company  in  the  Lord  Mayor's  pageant  of 
1001  represented  ancient  modes  of  weighing."    (See  Bibliography,  s.v.  Grocers'  Company.) 

"  The  Grocers'  Company,  as  custodians  of  the  King's  Beams  and  Weigh-house  for  more 
than  three  hundred  years,  have  taken  pains  to  represent  the  characteristics  of  the  Company 
on  their  car  which  figures  in  the  Lord  Mayor's  procession.  The  aim  is  to  illustrate  methods 
of  weighing  from  the  earliest  times."  A  short  history  of  the  various  methods  follows. 


THE  LORD  MAYOR'S  SHOW  129 

was  preceded  by  a  group  showing  the  early  trade-connections  of  the  Grocers' 
Company,  illustrated  by  camels  laden  with  spices  and  led  by  Arabs,  with  a 
mounted  escort.  In  this  show  we  find  again  the  cadets  and  band  of  the  War  spite, 
a  life-boat,  and  a  stage-coach  of  1801  with  motor-cars  of  a  century  later.1 

1902  —  TRADE,  NAVAL  HISTORY,  INTERNATIONAL  SYMBOLISM 

In  the  1902  procession,  the  Gardeners'  Company  was  followed  by  a  "  Floral 
Car  —  representing  the  Garden  Industry.  The  floor  of  the  Car  is  laid  out  as  a 
Flower  Garden,  with  Rockery,  etc.  A  canopy  rising  from  the  corners  supports 
four  cornucopise,  filled  with  choice  blooms;  from  the  centre  depends  a  basket 
of  trailing  creepers  and  flowers.  The  sides  of  the  car  are  edged  with  smilax  and 
draped  with  the  colours  of  the  Guild,  on  which  are  embroidered  the  arms  of  the 
Gardeners'  Company.  The  Car  is  drawn  by  a  team  of  Six  Horses,  and  attended 
by  the  Gardeners  in  costume."  Following  the  Haberdashers,  came  a  car  illus 
trating  "  The  Dawn  of  Printing."  A  model  of  the  first  English  printing-press 
was  surrounded  by  a  group  representing  Caxton  showing  proof  to  King  Edward 
IV,  the  Queen,  and  Earl  Rivers;  a  printer  and  his  apprentice  were  included  in 
this  group.  Around  the  car  were  the  arms  of  Edward  IV,  and  trade-marks  of 
the  leading  printers  of  the  period. 

Following  this,  came  cars  illustrating  the  rise  and  progress  of  the  British 
Navy;  first,  a  model  of  the  Great  Harry?  escorted  by  men  in  the  costume  of 
sailors  of  the  period;  after  the  boys  of  the  War  spite  came  a  model  of  H.  M.  S. 
Victory  (1805)  also  escorted  by  men  in  the  costume  of  sailors  of  the  period; 
finally,  a  model  of  H.  M.  S.  King  Edward  VII,  escorted  by  men  dressed  as  sailors 
of  the  present.  The  next  car,  which  followed  the  keepers  of  various  forests, 
represented  "The  Anglo- Japanese  Alliance";  it  contained  "an  allegorical 
representation  of  Great  Britain  and  Japan,  with  background  of  Japanese  scenery; 
a  boat  in  the  foreground  typifies  the  commerce  between  the  two  countries. 
Around  the  Car  are  emblazoned  national  armorial  bearings  and  clusters  of  Roses 
and  Chrysanthemums."  This  car,  drawn  by  the  usual  six  horses,  which  were 
led  by  carters  in  costume,  was  escorted  by  Japanese  sailors. 

Following  the  Spectacle-Makers,  came  a  car  "  representing  the  Optical  In 
dustry  of  the  1 6th  Century."  It  illustrated  the  use  of  nautical  and  astronomical 
instruments,  "  also  scientific  mechanics  making  and  fitting  spectacles.  The 
Car  is  draped  with  the  colours  of  the  Spectacle  Makers  Company,  with  the  Arms 
of  the  Guild  emblazoned  thereon." 

It  is  worthy  of  note  that,  although  the  earlier  pageantry  had  historical  char 
acters  and  plenty  of  trade-symbolism,  we  have  not  seen,  before  these  modern 


1  My  reference  for  this,  and  succeeding  shows  is,  unless  otherwise  stated,  the  Official  Pro 
grams  or  Orders  of  Procession. 

2  Destroyed  by  fire  in  1553. 


130  ENGLISH  PAGEANTRY 

shows,  a  representation  of  the  past  in  any  trade.  The  illustrations  of  the  Com 
merce  of  London  of  the  twelfth  century,  of  the  Methods  of  Weighing  from 
earliest  times,  and  of  the  Optical  Industry  of  the  sixteenth  century,  seem  to  be 
new  developments.  The  transition  is,  however,  very  natural;  we  have  seen,  in 
earlier  centuries,  the  past  of  guilds  portrayed  by  the  former  mayors  who  brought 
distinction  to  them;  and  we  have  been  shown  journeymen  and  masters  at  work 
at  their  trades,  on  many  a  pageant-car.  Such  figures  as  Caxton  before  Edward 
IV  show  the  bridge  between  trade  and  history  —  elements  which  are  united  on 
the  1902  float.  And  with  this  union  comes  more  than  advertisement,  more  than 
entertainment ;  the  past  of  a  trade  is  used  for  instruction.  This  aim,  or  tendency, 
appeared  in  the  Lord  Mayor's  Show  of  1884;  and  in  these  floats  of  1901  and  1902, 
we  come  a  step  nearer  to  the  idea  underlying  the  Parkerian  "  folk-play,"  where 
we  deal,  not  merely  with  historical  figures,  but  with  the  more  social  aspect  of 
history. 

1904 — HISTORY,  MYTHOLOGY,  ALLEGORY:  ONE  UNDERLYING  SCHEME 

The  cars  of  the  1904  Show  were  four  in  number.  A  note  in  the  Order  of  Proces 
sion  for  that  year  informs  us  that 

"  the  general  scheme  of  the  ornamental  cars  is  to  represent,  by  reference  to  their  chief  char 
acteristics,  four  of  the  most  potent  civilizing  powers  in  the  world's  history,  viz: 

"  Ancient  Egypt  —  the  Religion 

"  Ancient  Greece  —  the  Arts 

"  Ancient  Rome  —  the  Conquest 

"  Great  Britain  —  the  Bible,  Navigation  and  Industry."  1 

On  the  first  were  "  sphinxes  guarding  stairway  leading  to  pillar  supporting  Statue  of  the 
God  of  the  Nile  placed  under  a  canopy.  On  faces  of  pillar  are  wall  paintings  taken  from  the 
papyrus  of  Ani  representing  phases  of  the  '  Adoration  of  the  Nile,'  which  is  further  illustrated 
by  group  of  Priests,  etc."  Followed  a  "  Car  representing  Ancient  Greece,  Pillar,  decorated 
with  bas-reliefs,  representing  the  Muses,  at  rear  of  Car,  supporting  Chariot  drawn  by  two 
Grecian  steeds,  in  which  stands  Apollo  playing  his  Lyre.  In  front  are  grouped  representatives 
of  the  Arts  of  Greece."  The  car  representing  ancient  Rome  contained  the  "  '  Columna  Ros- 
trata '  supporting  Statue  of  Victory.  Group  shewing  Caesar,  accompanied  by  Roman 
Soldiers."  And  on  the  last:  "  Britannia  seated  high  on  Gothic  throne  supported  by  Griffins 
carrying  City  Arms,  the  British  Lion  crouched  at  her  feet.  In  her  right  hand  Britannia 
carries  the  trident  while  her  left  hand  rests  upon  the  open  Bible,  '  the  secret  of  England's 
greatness,'  and  the  names  of  some  of  the  greatest  pioneer  exponents  of  the  Bible  in  distant 
lands  are  mentioned,  viz.:  Livingstone  (Africa) ;  Morrison  (China);  Carey  (India) ;  Martyn 
(Persia).  Allegorical  figures  representing  Navigation  and  Industry.  Representative  Group 
of  the  British  Colonies  "  completed  the  float. 

It  is  to  be  remarked  that  here,  for  the  first  time,  we  have  four  floats  related; 
one  scheme  of  allegory  underlies  all.  With  all  the  symbolism  and  allegory  which 


1  These  cars  are  pictured  in  the  Order  of  Procession. 


THE  LORD  MAYOR'S  SHOW  131 

we  found  in  the  seventeenth  century,  there  was  nothing  which  showed  the  single 
ness  of  purpose  we  find  here;  and  this  unity  of  design  brings  us  another  step 
nearer  the  Parkerian  attitude. 

1905  —  INTERNATIONAL  SYMBOLISM,  ALLEGORY,  AND  SUGGESTIONS 

OF  THE  GIANTS 

The  Order  of  Procession  for  1905  contains  illustrations  of  the  three  cars  shown 
that  year.1  The  first,  recalling  the  Anglo- Japanese  pageant  of  1902^  represented 
L 'Entente  Cordiale.  "  This  car  shows  two  giant  figures  respectively  representing 
Britannia  and  the  French  Republic  3  with  hands  clasped  over  a  globe.  At  the 
corners  are  standing  French  and  English  Soldiers  and  Sailors.  The  Car  is  deco 
rated  by  two  giant  Flambeaux  of  Peace,  garlanded  to  the  corners  with  gilt 
laurels  and  wreaths.  The  sides  and  base  of  the  Car  are  draped  with  Union  Jacks 
and  Tricolours." 

The  next  car  was  "  designed  to  exemplify  Peace  and  War.  The  rear,  or  Peace 
portion  of  the  Car  is  a  pedestal  of  granite  with  the  word  '  PAX  '  marked  in  relief 
upon  each  side,  and  surmounted  by  a  giant  figure  designed  after  the  celebrated 
Statue  of  Liberty  at  the  entrance  to  New  York  harbour.  The  base  is  decorated 
with  a  marble  balustrade  garlanded  with  flowers.  The  rear  of  the  Car  is  draped 
with  two  large  American  ensigns.4  In  the  forepart  of  the  Car,  at  the  foot  of  the 
Statue  of  Liberty,  are  two  soldiers  of  Russia  and  Japan  with  rifles  on  the  ground 
advancing  on  the  summit  of  a  ditch  to  give  their  hands  in  peace.  At  their  feet 
are  a  dismantled  cannon  and  broken  wheels  as  if  shattered  by  shell-fire.  The 
base  of  the  Car  is  decorated  by  Russian  and  Japanese  flags." 

"  The  central  and  upper  part  "  of  the  third  pageant,  which  represented  the 
Colonies,  "  shows  an  Indian  Trapper  bartering  furs  with  a  Hudson  Bay  Trader. 
On  one  side  of  the  Car  is  a  typical  Canadian  Agriculturalist  seated  upon  a  real 
plough,  with  sheaves  of  corn  and  trophies  of  colonial  produce  near,  and  on  the 
other  side  a  New  Zealand  Agriculturalist  with  a  live  sheep,  and  samples  of  New 
Zealand  produce.  The  four  corners  are  occupied  by  typical  Colonials  and  the 
Car  is  decorated  with  real  fruit  and  the  heads  of  animals." 


1  We  may  note  that  in  1905  came  to  life  at  Sherborne,  England,  the  Parkerian  "  pageant  " 
or  "  folk-play  "  which  is  discussed  in  chapter  viii. 

2  See  above,  p.  129. 

3  If  it  be  true  that  the  personification  of  cities  and  countries  came  originally  from  the 
giant,  through  the  giant-champion,  Bruce,  Ebraucus,  to  London  and  Africa,  it  is  interesting 
to  note  here  a  return  of  the  personified  figure  to  the  giant.    This  is,  in  all  probability,  pure 
coincidence;  but  it  is  none  the  less  remarkable. 

4  In  the  illustration,  printed  in  the  Program,  these  appear  to  be  the  Japanese  ensign  and 
the  Union  Jack.    The  American  flags  and  the  Statue  of  Liberty  refer,  of  course,  to  the  Peace 
of  Portsmouth. 


132  ENGLISH  PAGEANTRY 

Surely  Dekker,  Heywood,  and  Middleton  would  have  smiled  could  they  have 
foreseen  how  a  peace  signed  in  far-away  New  Hampshire,  between  the  envoys 
of  a  Slavic  and  an  Eastern  Empire,  would  figure  in  the  Lord  Mayor's  Show! 
The  larger  aspect  of  London,  in  her  relations  to  the  Empire,  is  emphasized  in 
these  later  processions;  as  London,  outgrowing  its  old  boundaries,  became  less 
and  less  "  the  City  "  of  old,  it  connected  itself  more  and  more  with  the  Colonies, 
and  with  the  Empire ;  and  the  history  which  is  reflected  —  from  the  present  as 
well  as  from  the  past  —  is  rather  that  of  the  Empire  and  her  Allies  than  of  one 
London  Company.  The  gigantic  figures  of  Pax  (or  Liberty),  Britannia,  and  the 
French  Republic,  recall  the  London,  India,  and  Africa,  of  the  older  shows;  but 
to  these  personifications  has  been  added  a  suggestion  of  the  civic  giants.  The 
latter  represented  what  was  believed  to  be  history;  the  figures  of  1905  were 
frankly  symbolical  and  allegorical  —  yet  the  emotions  of  the  crowd  on  seeing 
these  huge  images  must  have  been  akin  to  those  with  which  the  seventeenth- 
century  mobs  greeted  their  giants. 

1906  —  AN  HISTORICAL  PARENTHESIS  IN  THE  SHOW  FOR  THIS  YEAR 

A  short  historical  introduction,  with  various  illustrations  —  including  "  The 
Lord  Mayor's  Show  from  the  famous  picture  by  Hogarth  1  —  opens  the  Order 
of  Procession  for  1906.  Many  of  the  features  of  this  show  are  unchanged;  there 
are  the  fire-engines,  the  life-boat,  and  the  boys  from  the  Warspite.  A  car,  "  carry 
ing  Cornish  miners  from  the  School  of  Mining,  Truro,"  preceded  the  Ragged 
School  Union  and  Shaftesbury  Society,  which  was  followed  by  a  "  car  representing 
various  Departments  of  the  Society's  Work."  Then  followed  in  carriages  Crimean 
veterans  representing  the  five  regiments  which  took  part  in  the  charge  of  the 
Light  Brigade.2 

An  "  Historical  Pageant  representing  notable  Lord  Mayors  of  London  of  the 
Past  Seven  Centuries,  with  their  Retinues  "  brings  us  nothing  new; 3  Henry 
Fitz-Alwin  (1189-1212)  represented  the  thirteenth  century;4  Sir  John  Philpot 
(1378)  the  fourteenth;  Sir  Richard  Whittington  (1397, 1406,  1419)  the  fifteenth; 
Sir  Richard  Gresham  (1537)  the  sixteenth;  Sir  Thomas  Myddleton  (sic)  (1613) 


1  This  is  the  oft-reproduced  final  picture  of  the  Industry  and  Idleness  series. 

2  Cf.  the  Show  of  1890,  (above,  p.  125). 

3  Cf.  the  Shows  for  1884,  1889,  and  1895.      It  will  be  recalled  that  in  the  seventeenth 
century,  Lord  Mayors  appeared  frequently  in  the  procession;   but  they  were  famous  prede 
cessors  of  their  guild-brother  who  was  being  inaugurated.     In  the  more  modern  shows,  the 
men  owe  their  representation  to  no  guild  in  particular;  a  civic  broadness  has  taken  the  place 
of  a  natural  exclusiveness. 

The  title  —  "  historical  pageant  "  -probably  indicates  an  influence  from  the  Parkerian 
pageants  of  Sherborne  and  Warwick,  though  there  were  "  historical  pageants  "  at  Boston, 
(Massachusetts)  in  1880,  and  Marietta  (Ohio)  in  1888. 

4  The  dates  are  those  of  the  program. 


THE  LORD  MAYOR'S  SHOW  133 

the  seventeenth;  John  Wilkes  (1775)  the  eighteenth,  and  Robert  Waithman 
(1823)  the  nineteenth.1  There  were  no  cars  with  this  part  of  the  procession, 
which  gives  us  history  as  a  symbol  of  a  glorious  past  —  the  "  soul  "  of  pageantry, 
which  is  an  important  element  in  the  Parkerian  work. 

1907  —  THE  OLDER  AND  PARKERIAN  PAGEANTRY  MEET 

That  the  difference  between  the  older  and  the  Parkerian  pageant  is  mainly 
one  of  technique,  is  shown  by  the  ease  with  which  the  two  were  combined,  when, 
in  1907,  Mr.  Louis  N.  Parker  —  who  has  been  called  the  "  father  of  modern 
pageantry  "  -  planned  an  "  historical  pageant  "  for  the  Lord  Mayor's  Show. 
This  insertion,  or  "  interlude,"  in  the  procession  was  not  a  "  folk-play  "  at  all; 
and  the  conditions  of  presentation  were  not  such  that  the  show  could  be  tech 
nically  influenced  by  the  "  folk-play."  Mr.  Parker's  contribution  to  the  proces 
sion  is  devoid  of  speech  or  action;  "  groups  "  take  the  place  of  his  folk-play 
"  episodes,"  and  a  symbolic  car  replaces  the  "  final  scene  "  -  which  is  also 
symbolic  —  of  his  pageants.  But  this  "  interlude,"  if  so  it  may  be  called,3  shows 
the  "  folk-play  "  master's  insistence  on  historical  accuracy,  his  research,  and 
the  dramatist's  desire  for  unity.  The  Edwards  of  England 4  is,  after  all,  but  an 
elaboration  of  such  processions  of  former  mayors  as  those  of  1889  and  1906. 

The  Pageant  begins  with  Edward  the  Confessor  (crowned  1043)  as  closing  the  Saxon  epoch. 
He  is  followed  by  an  Abbot  bearing  the  model  of  Westminster  Abbey,  which  was  built  in  his 
reign,  and  in  which  he  was  buried.  Next  comes  Godwine,  Earl  of  the  West  Saxons,  the  father 
of  Eadgyth,  the  king's  wife,  and  his  two  sons,  Tostig  the  king's  favourite,  and  Harold,  who 
was  himself  chosen  king  in  1066.  Edward  the  Confessor  was  a  great  benefactor  to  the  Church, 
and  by  his  gifts  and  endowments  laid  the  foundation  of  the  glory  of  St.  Edmundsbury.  The 
Great  Shrine  of  St.  Edmund  is  here  shown.  Behind  it  rides  William,  Duke  of  Normandy, 
whom  Edward  entertained  at  his  court,  and  who  returned  in  1066  as  William  the  Conqueror. 

Group  II 

Edward  I  (1239-1307.)  One  of  the  greatest  of  our  kings.  He  was  a  Crusader;  he  re 
ceived  the  submission  of  the  Barons  of  the  Cinque  Ports;  was  at  war  with  Simon  of  Montfort, 
and  created  his  son  Edward,  first  Prince  of  Wales. 


1  Pictures  of  these  mayors  and   their   trains  are  published  in  the  Order  of  Procession; 
and  post-card  illustrations  of  the  groups  may  be  found  in  the  Guildhall  and  Harvard  Libraries. 

2  I  use  this  word  in  the  Parkerian  sense,  meaning  "  a  play  given  by  the  people."    This 
form  of  art  began  —  as  I  have  already  noted  —  in  1905;   we  shall  treat  it  more  in  detail  in 
chapter  viii.    With  Mr.  Parker's,  pageantry  adds  to  its  list  (which  contains  the  names  of 
Lydgate,  Udall,  Peele,  Middleton,  Webster,  Dekker,  and  Hey  wood)  another  important  name; 
he  joins  his  fellow-dramatists,  who,  in  the  past,  contributed  much  to  the  Lord  Mayor's  Show. 

The  reader  must  not  confuse  the  Parkerian  "  folk-play,"  or  pageant,  with  the  earlier 
"  folk-play,"  such  as  the  mummers'  play  of  Lutterworth,  the  sword-dance,  or  the  Robin  Hood 
plays. 

3  I  have  given  it  this  name,  because  it  is  really  a  parenthetical  insertion  in  the  procession. 

4  It  may  be  noted  that  the  birthday  of  Edward  VII  fell  on  9  November,  (cf.  above,  p.  112.) 


134  ENGLISH  PAGEANTRY 

Group  III 

Edward  II  (1284-1327.)  On  his  right  rides  Piers  Gaveston,  his  favourite  and  foster- 
brother,  with  the  ominous  figure  of  the  Headsman  folio  whig  close  upon  him;  for  Piers  Gaves 
ton  was  executed  by  the  infuriated  Barons  on  Blacklow  Hill,  near  Warwick,  in  1312.  On  the 
king's  left  rides  his  later  favourite  Hugh  Le  Dispenser,  the  younger.  Behind  them  come  the 
Barons,  whose  opposition  to  the  king  and  his  favourites  made  this  one  of  the  most  turbulent 
and  tragic  reigns.  Lastly  Henry  Le  Waleys,  first  M.  P.  for  London. 

Group  IV 

Edward  HI  (1312-1377)  surnamed  by  Parliament  '  The  King  of  the  Sea.'  In  his  reign 
English  Commerce  had  its  beginning.  He  favoured  James  van  Artevelde,  a  wealthy  citizen 
of  Ghent,  and  invited  Flemish  Weavers  to  settle  in  England,  and  Genoese  Merchants  to  bring 
their  wares.  Geoffrey  Chaucer,  the  poet  of  the  '  Canterbury  Tales,'  flourished  in  this  reign. 
During  his  reign  the  First  Cannon  is  said  to  have  been  used.  He  instituted  the  Order  of  the 
Garter  (which  was  then,  and  long  afterwards,  called  the  Order  of  St.  George).  His  son,  Ed 
ward  the  Black  Prince,  was  so  called  after  the  Battle  of  Crecy,  at  which  he  was  possibly  ac 
coutred  in  black  armour.  Edward  III  entertained  Knights  from  Spain,  Cyprus  and  Armenia, 
who  had  come  to  solicit  aid  against  the  Mahometans. 

Group  V 

Edward  IV  (1442-1483.)  He  is  closely  followed  by  the  Earl  of  Warwick  (known  as  the 
'  King  Maker ')  and  by  the  Duke  of  Clarence,  who,  with  Warwick,  plotted  his  overthrow. 
Lastly  the  tragic  figure  of  Falconbridge  rides  by,  followed  by  the  Men  of  Kent  whom  he  raised 
in  rebellion  on  behalf  of  Warwick. 

Group  VI 

Edward  V  (1470-1483).  The  unhappy  boy,  who  with  his  brother  the  Duke  of  York  was 
murdered  by  the  order  of  the  Duke  of  Gloucester,  afterwards  Richard  III. 

Group  VII 

Edward  VI  (1537-1553-)  The  key-note  of  this  reign  was  the  revival  of  education.  The 
boy-king  himself  was  taught  in  all  godly  learning  by  his  four  tutors,  Richard  Cox,  Bishop  of 
Ely;  Sir  John  Cheke,  M.A.,  Sir  Anthony  Cooke,  and  Roger  Ascham,  who  was  afterwards  tutor 
to  Princess  Elizabeth  and  Latin  Secretary  to  Queen  Mary.  He  is  followed  by  the  Earl  of 
Hertford,  his  uncle.  A  Physician  representing  the  conversion  of  the  Monastery  of  St.  Bar 
tholomew  into  St.  Bartholomew's  Hospital.  He  appointed  as  Court  preachers  Nicholas 
Ridley,  Bishop  of  Rochester  and  London,  Hugh  Latimer,  Bishop  of  Worcester,  and  John 
Hooper,  Bishop  of  Gloucester  and  Worcester.  Edward  VI  presented  the  Palace  of  Bridewell 
to  the  Corporation  of  London  as  a  '  Workhouse.'  A  prominent  figure  in  his  short  reign,  and 
long  afterwards,  was  Sir  Thomas  Gresham,  who  founded  the  first  Royal  Exchange.  Edward  VI 
converted  the  old  Grey  Friars'  Monastery  into  Christ's  Hospital  (the  Blue  Coat  School)  in 
1553,  and  founded  many  grammar  schools,  of  which  Sherborne  (May  13th  1550)  is  reputed  to 
have  been  the  first. 

Group  VIII 

The  reign  of  His  Most  Gracious  Majesty  King  Edward  the  Seventh  is  symbolized  by  a 
Car  entitled  '  The  Harvest  of  the  Peacemaker.'  It  is  a  real  Harvest  Wagon,  drawn  by  Eight 
Shire  Horses,  and  bearing  the  fruits  of  Peace,  who,  owing  greatly  to  the  unceasing  efforts  of 
our  Sovereign,  is  seen  enthroned  over  the  Four  Quarters  of  the  Earth." 


THE  LORD  MAYOR'S  SHOW  135 

This  is  the  Parkerian  interlude  of  1907,  which  brought  to  the  London  crowds 
the  raw-material  of  many  chronicle-plays.  Higher  in  artistic  aim  and  historical 
accuracy  than  any  previous  Show,  it  gave  to  this  institution  the  element  which 
permeates  our  newer  pageantry  —  the  desire  to  turn  entertainment  to  the  uses 
of  instruction. 


1908 — "THE  PRESS,  THE  POETS,  AND  THE  MUSICIANS  FROM 
CHAUCER  TO  MILTON  " 

The  following  year,  the  Order  of  Procession  included  an  "  historical  literary 
pageant  "  by  Mr.  Parker,  entitled  The  Press,  the  Poets,  and  the  Musicians  from 
Chaucer  to  Milton.  Two  Heralds  led  this  section  of  the  Show:  then  came  Chaucer, 
followed  by  the  Canterbury  Pilgrims,1  each  of  whom  carried  an  identifying 
banner.  William  Caxton 2  came  next,  with  a  printing-press  "  (kindly  lent  by 
the  Governors  of  the  St.  Bride  Foundation),  with  Printers  and  a  Printer's  Devil 
at  work."  Sir  Thomas  Malory  was  followed  by  King  Arthur  and  Sir  Lancelot; 
Edmund  Spenser  by  the  Knight  of  the  Red  Cross,  Sir  Guyon,  Sir  Cambal,  and 
Sir  Talamondj  Sir  Artegall,  and  Sir  Calidore,  each  of  whom  bore  a  pennant  with 
his  name,  and  the  quality  he  represented,  upon  it.3  Christopher  Marlowe  was 
followed  by  Tamburlaine,4  Dr.  Faustus,  Mephistophilis,  Barabas,  Edward  II, 
Henry  of  Navarre,  ^Eneas,  and  Ascanius;  Shakspere  led  many  characters;  Ben 
Jonson,  Philip  Massinger,  and  Robert  Herrick  followed;  and  then  came  John 
Milton,  accompanied  by  L'Allegro,  II  Penseroso,  and  Comus.  All  of  these 
writers  were  —  it  will  be  noted  —  more  or  less  intimately  connected  with  London. 

The  Musicians'  Company  of  London,  (1472);  Walter  Halliday  (First  Master 
of  the  Company,  1472);  Orlando  Gibbons,  Mus.  Doc.  (1583-1625);  John  Blow, 
Mus.  Doc.  (1648-1708);  Henry  Purcell,  Mus.  Doc.  (1658-1695),  and  John 
Bull,  Mus.  Doc.  (1563-1628)  brought  the  pageant  to  a  close.  This  show,  like 
that  of  1907,  is  an  "  interlude,"  or  "  insert,"  in  the  regular  procession. 


1  A  note  in  the  Program  states  that  "  in  arranging  the  procession  of  Literary  and  other 
celebrities,  great  care  has  been  exercised  in  obtaining  from  all  available  sources  the  most  re 
liable  data  as  to  the  personal  appearance,  dress  and  habits  of  the  various  notabilities  who  are 
portrayed. ...  So  far  as  concerns  the  dress  of  the  different  periods,  the  pageant  may  be  looked 
upon  as  being  probably  the  most  authentic  and  correct  series  of  historical  groups  that  has 
ever  been  seen  in  London."    Some  of  the  characters  in  this  part  of  the  procession  are  pictured 
in  the  Order  of  Procession  as  well  as  in  the  Program. 

This  emphasis  on  accurate  historical  detail  is  one  of  the  characteristics  of  the  Parkerian 
pageant. 

2  Who  appeared  in  1902,  it  will  be  recalled. 

3  This  might  be  thought  to  show  a  pageantic  use  of  the  older  "  men  in  armor;  "  I  believe 
there  is  no  connection  whatever  between  the  two. 

4  Tamburlaine,  it  may  be  remarked,  appeared  in  the  Shows  of  1623  and  1676.   (See  above, 
p.  79,  and  n.  2.) 


136  ENGLISH  PAGEANTRY 

1910 — FAMOUS  CHARACTERS  or  SHAKSPERE'S  LONDON  PLAYS 

The  procession  of  1909  included  Balaklavan  survivors  —  who  filled  only  two 
carriages  —  steam  fire-engines,  boy  scouts,  and  the  usual  marching  companies 
with  their  banners.  There  were  no  allegorical  floats,  or  representations  of  his 
torical  figures.1  But  the  Show  of  1910  included  an  "  insert  "  like  those  of  1907 
and  1908. 

Philip  Carr  was  honorary  master  of  the  pageant  this  year;  and  his  interlude 
consisted  of  "  representative  characters  from  scenes  mentioned  in  Shakspere's 
plays  as  occurring  in  the  streets  of  London."  The  events  reproduced  were:  the 
return  of  Henry  V  and  his  army  after  the  Battle  of  Agincourt,  (1415) ;  Sir  John 
Falstaff  and  his  companions  leaving  the  Boar's  Head  Tavern  at  Eastcheap; 
Richard,  Duke  of  Gloucester  with  King  Edward  V  and  the  young  Duke  of  York 
on  their  way  to  the  Tower,  (1483);  King  Henry  VIII  and  Cardinal  Wolsey 
going  to  the  Papal  enquiry  concerning  Queen  Katherine  at  Blackfriars,  (i528).2 
We  find  here  a  procession  of  some  of  the  historical,  and  pseudo-historical,  char 
acters  treated  in  Shakspere's  plays.  In  1907,  we  dealt  with  history,  the  raw- 
material  of  the  chronicle  play;  in  1908,  we  saw  literature  viewed  through  the 
eyes  of  history;  and  here  we  get  history  seen  through  literary  spectacles.  These 
three  processions  indicate  the  influence  on  the  Lord  Mayor's  Show  of  the  modern 
historical  "folk-play,"  or  Parkerian  pageant;  and  we  have  an  interesting  ex 
ample  of  a  later  form  affecting  an  earlier. 

1911  —  ARMY  HISTORY  AND  NAVAL  PAST  PORTRAYED 

Perhaps  the  Army  Pageant  of  1910  influenced  the  1911  Show;  at  any  rate, 
in  this  year  the  parenthetical  "  insert  "  —  which  we  may  call  the  "  pageant  " 
-  illustrated,  by  means  of  groups,  "  five  important  epochs  in  the  history  of  the 
British  Navy  and  Army  from  the  time  of  Queen  Elizabeth."  3  The  first  group 
showed  Sir  Francis  Drake,  with  officers  and  men  who  defeated  the  Armada; 
Sir  Philip  Sidney,  with  representatives  of  the  land  forces  of  his  day.  Group  ii 

1  Reminiscences  of  Bridge  Ward  and  the  Bridge  of  the  World  —  London  Bridge  (illustrated) 
prefaces  the  Order  of  Procession  for  1909.    The  program  for  this  year  reproduces  various  old 
prints  illustrating  former  pageants;  and  in  this  way  history  is  emphasized. 

2  The  Official  Program  of  this  show  was  reprinted  in  the  Lord  Mayor's  Procession  Number 
of  The  County  and  City  of  London  Observer,  for  9  November,  1910;  but  there  are  no  illustra 
tions  of  the  Show  in  this  paper.    From  a  note  we  learn  that  the  management  of  the  Festival 
of  Empire  (cf.  Bibliography)  lent  a  number  of  properties  and  costumes  used  in  the    Lord 
Mayor's  Show.    It  is  hard  to  tell  whether  the  characters  here  rode,  or  progressed  on  cars, 
reconstructing  the  scenes  as  tableaux  vivants. 

3  How  this  kind  of  thing  was  done  before  the  influence  of  the  Parkerian  work  was  felt, 
may  be  seen  by  referring  to  the  Show  for  1896.    Both  that,  and  this  for  1911,  may  have  felt 
an  influence  from  the  "  Royal  Military  and  Naval  Tournament,"  which  we  shall  touch  on 
in  the  next  chapter. 


THE  LORD  MAYOR'S  SHOW  137 

presented  Admiral  Blake,  with  officers  and  men  "  who  drove  Van  Tromp  from 
our  seas  ";  and  General  Monk  with  "  Ironsides  "  and  pikemen  of  1650;  group 
iii  portrayed  Sir  George  Rooke  and  the  captors  of  Gibraltar;  the  Duke  of  Marl- 
borough,  with  mounted  dragoons.  In  group  iv,  marched  Admiral  Boscawen,  with 
sailors  of  1747;  and  Lord  Clive,  with  Dragoons  and  Grenadiers  of  1757;  and 
group  v  represented  Admiral  Lord  Nelson,  with  officers  and  men  of  Trafalgar, 
and  the  Duke  of  Wellington,  with  soldiers  of  Waterloo. 

Ever  since  1585,  when  a  Soldier  and  a  Sailor  accompanied  the  Genius  of  the 
City,  the  two  branches  of  the  service  have  been  closely  connected  with  London 
in  the  popular  mind.  A  large  part  of  the  procession  has  for  long  been  made  up 
of  soldiers;  and  with  the  tendency  —  visible  at  intervals  from  1850  —  to  empha 
size  Britain  rather  than  London,  the  ties  between  England  and  the  Colonies,  it 
is  not  surprising  that  the  Army  and  Navy  should  be  made  the  subject  of  a  civic 
pageant.  Now  that  the  Great  War  is  over,  we  may  expect  to  find  further  glori 
fication  of  His  Majesty's  Forces  in  more  than  one  Lord  Mayor's  Show;  indeed, 
before  universal  service  was  voted,  troops  were  used  as  a  means  of  stimulating 
recruiting. 

1913  —  A  CHANGE  m  THE  ATTITUDE  OF  THE  PRESS 

It  is  interesting  to  compare  the  attitude  of  the  press,  in  speaking  of  the  Lord 
Mayor's  Show  of  1913,  with  that  of  1853. 

"  The  glorious  history  of  the  City  of  London  was  again  epitomized  yesterday  when  the  annual 
historical  and  military  pageant  of  the  Lord  Mayor's  Show  proceeded  from  the  Guildhall 
through  the  City  . . .  This  quaint  procession,  with  its  curious  conglomeration  of  potted  history, 
can  always  be  relied  on  to  attract  the  whole  of  London  and  many  from  the  provinces;  and 
this  year  .  .  .  the  public  imagination  had  been  caught  by  rumours  of  a  captive  giant  who  was 
to  be  led  through  the  streets,  as  in  the  Imperial  triumphs  of  old  Rome.  .  ."  l 

The  leader  in  the  Times  for  the  10  November,  1913,  shows  a  marked  contrast  to 
that  cited  from  the  Weekly  Times  of  13  November,  i853.2  After  a  brief  resume 
of  the  history  of  the  Lord  Mayor's  Show,  the  editor  continues : 

"  No  doubt  many  peaceable  citizens,  before  as  since,  resented  this  noisy  and  even  danger 
ous  interruption  of  their  trade.  There  is  not  lacking  opposition  to  the  custom  even  to-day. 
It  is  urged  that  the  procession  seriously  obstructs  the  traffic,  which  is  already  as  much  as  the 
City  thoroughfares  can  cope  with.  This  difficulty  has  to  some  extent  been  met  this  year  by 
a  commendable  alteration  of  the  route.  Other  critics,  more  revolutionary,  complain  of  the 
expense  and  question  the  desirability  of  this  civic  parade.  Objections  on  these  grounds  can, 
of  course,  be  urged  against  any  form  of  pageantry.  None  is  in  the  strictest  sense  '  necessary,' 
and  all  is  expensive.  Such  criticisms  are  nevertheless  superficial.  This  is  a  time  when  the 
rule  of  '  common  sense  '  is  so  strict  that  appeals  to  the  emotions  and  imagination  of  the  public 
are  only  too  few.  There  is  no  method  like  the  pictorial  method  for  stimulating  and  fixing  in 
the  popular  mind  some  notion  of  the  past  without  which  the  present  falls  out  of  perspective. 

1  The  London  Daily  Chronicle  for  n  November,  1913. 

2  Cf.  above,  p.  117;  and  the  editorial  in  the  Times  for  10  November,  1853,  p.  6,  col.  3. 


138  ENGLISH  PAGEANTRY 

This  is  the  use,  symbolical,  suggestive,  of  all  pageantry.  The  first  City  of  the  world  is  the 
last  place  where  it  could  profitably  be  dispensed  with.  It  is  essential  that  its  citizens  should 
be  reminded  from  year  to  year  of  some  other  aspect  of  their  City's  greatness  than  is  provided 
merely  in  statistics  of  trade.  The  Tower  holds  as  many  secrets  of  the  progress  of  London 
among  the  world's  cities  as  does  the  Stock  Exchange,  and  a  picture  drawn  solely  from  one 
standpoint  or  the  other  would  be  incomplete.  The  unflagging  interest  of  the  public  in  the 
Lord  Mayor's  Show  proves,  at  all  events,  that  the  vast  majority  are  alive  to  its  value  and 
interest  and  true  to  civic  traditions.  There  can  be  no  gain  in  lessening  the  corporate  spirit 
that  still  animates  "  the  City  "  by  impairing  the  authority  and  dignity  attached  to  the  yearly 
president  of  the  community.  The  City  Companies,  by  continuing  to  serve,  in  loyalty  to 
tradition,  the  purposes  for  which  they  were  founded,  and  by  carrying  on  at  the  same  time 
useful  work  of  a  more  modern  character,  testify  that  even  in  matters  relating  to  commerce  it 
is  possible  to  combine  the  old  spirit  and  the  new.  According  to  EMERSON,  "  the  use  of  history 
is  to  give  value  to  the  present  hour  and  its  duty."  This  use  the  Lord  Mayor's  Show  can 
claim  in  some  measure  to  perform.  If  some  future  Lord  Mayor  decided  to  revive  the  water 
pageant  of  olden  days,  this  useful  purpose  would  be  equally  well  served  and  the  complaint 
of  interrupted  business  would  be  no  longer  heard." 

Although  announced,  and  reported,  as  a  "  reproduction  "  of  the  Lord  Mayor's 
Show  of  1613,  that  of  1913  was  nothing  of  the  sort.1  Planned  to  observe  the 
three-hundredth  anniversary  of  the  opening  of  the  New  River,  the  show  in 
cluded  a  giant  —  in  which  walked  a  man  —  who  represented  the  River.  He 
was  led  captive  by  a  very  small  boy,  dressed  as  a  Crusader,  who  personified  the 
Genius  of  London.  At  the  corner  of  Queen  Victoria  Street  and  Upper  Thames 
Street  was  a  castle,  representing  the  mayor's  Ward  —  Castle  Baynard  —  at 
which  the  Dean  of  St.  Paul's  read  the  new  mayor  a  congratulatory  address. 
There  were  the  usual  military  bands,  soldiers,  boys  of  the  Royal  Merchant  Sea 
men's  Orphanage,  Dr.  Barnardo's  Homes,  and  cadets  from  the  Warspite.  Among 
the  Boy  Scouts  was  young  Dick  Whittington  as  an  apprentice.  A  real  life-boat 
manned  by  the  crew  of  Clacton-on-Sea  took  part  in  the  procession;  and  a 
"  trolley,"  or  "  float,"  accompanied  the  Boy  Scouts,  on  which  a  group  showed 
the  duties  of  the  Scouts  in  camp. 

Sir  William  Walworth,  attended  by  Knights,  Sir  Henry  Fitz-Alwin,  Robin 
Hood,  with  some  of  his  men,  five  Moorish  kings,2  and  Hugh  Middleton,  with 
mounted  "  wyfflers,"  and  "  waytes,"  rode  in  the  procession,  as  did  various  City 
officers  in  the  garb  of  the  seventeenth  century  —  the  Common-Sergeant,  Cham- 


1  For  illustrations  of  the  giant,  the  historical  characters,  the  Boy  Scouts'  camp  and  the 
"  reproduction  "  of  Baynard  Castle,  see  the  Ittus.  Land.  News  for  15  November,  1913,  p.  783. 
"  We  are  continually  hearing,"  says  that  periodical,  "  that  the  most  typical  of  London  pag 
eants,  the  Lord  Mayor's  Show,  is  a  thing  dead;    yet  every  November  it  turns  up  again  and 
draws  great  crowds  to  see  it.    This  year's  Procession  proved  no  exception  to  the  rule." 

2  Which,  the  Official  Program  tells  us,  "  have  reference  to  the  Goldsmiths  Company,  of 
which  Hugh  Myddelton  was  a  member."    The  supporters  of  the  Goldsmiths'  arms  are  not 
Moors  but  unicorns;  apparently  the  1613  Moors  referred  to  Sir  Thomas  Middleton's  wide 
commercial  interests:  (cf.  above,  p.  34). 


THE  LORD  MAYOR'S  SHOW  139 

berlain,  Common-crier,  Sword-bearer,  and  the  two  Sheriffs.  Sir  Thomas  Middle- 
ton,  with  his  immediate  predecessor  beside  him,  rode  last  of  all.  None  of  the 
dramatist  Middle  ton's  speeches  was  delivered;  nor  were  any  of  Grinkin's 
pageants  reproduced.1 

1914  —  THE  SHOW  INCITES  TO  PATRIOTISM 

Just  as  no  historical  pageantry  can  bring  the  past  so  vividly  before  us  as  the 
figures  of  veterans  who  have  participated  in  historical  battles,  so  no  amount  of 
symbolism  will  arouse  the  fervor  awakened  by  the  sight  of  troops  about  to  go 
to  fight.  The  world  was  shuddering  at  the  horrors  of  war  when  Sir  Charles 
Johnstone  took  his  oath  in  November,  1914.  No  pageantry  accompanied  him; 
but  for  the  first  time  in  the  history  of  the  Show  there  figured  in  the  procession 
"  the  Empire  troops  from  the  Over-Sea  Dominions  come  to  help  the  Mother 
Country  in  a  time  of  unparalleled  stress."  2 

On  the  day  after  the  Show,  the  Times  published  a  leader  which  is  worth  quot 
ing  in  full  :3 

"  November  9,  1914,  will  be  for  ever  memorable  in  the  long  annals  of  the  City  of  London. 
The  shadow  of  the  greatest  war  in  history  is  over  all  hearts,  and  leaves  our  minds  but  little 
attuned  to  feasting.  The  flower  of  our  manhood  are  at  this  hour  wrestling  in  deadly  conflict 
for  all  that  we  hold  dear.  All  that  the  wisdom  and  the  valour  of  our  fathers  have  wrought 
for  a  thousand  years  is  at  stake;  our  fairest  hopes,  our  noblest  aspirations,  hang  upon  the 
issue.  The  magnitude  and  the  gravity  of  the  struggle,  and  the  consciousness  that  upon  it 
depends  the  whole  future  of  civilization  in  Europe,  weigh  upon  the  City  of  London  and  upon 
His  MAJESTY'S  Ministers  more  heavily  perhaps  than  upon  any  others.  Yet  it  was  decided, 
and  in  our  judgment  wisely  decided,  that  neither  sorrow  for  those  who  have  fallen,  nor  cares  or 
anxieties  for  the  State  should  interrupt  the  accustomed  ceremony  with  which  the  LORD  MAYOR 
takes  possession  of  his  office.  The  LORD  MAYOR  drove  in  procession  through  the  streets  of 
London  yesterday,  as  the  KING  will  pass  in  State  to  the  Palace  of  Westminster  to-morrow, 
because  we  hold  it  meet  as  an  ancient  nation  that  not  even  war  should  disturb  our  time- 
hallowed  customs.  We  boast  that  our  "  culture  "  has  its  roots  deep  in  the  past,  and  these 
things  are  the  outward  symbols  of  the  strong  links  that  bind  our  race  throughout  the  world 
to  the  inheritance  which  makes  them  what  they  are.  The  old  Guildhall  was  built  before  the 
first  HOHENZOLLERN  came  to  Brandenburg,  and  Lord  Mayors  have  "  kept  their  feast  "  there 


1  The  Evening  Standard  and  St.  James's  Gazette  for  25  October,  1913,  records  that  "  this 
year  there  will  be  no  symbolical  cars  and  no  private  fire  brigades.    The  proposal  to  include 
in  the  pageant  representatives  of  the  naval  and  military  uniforms  worn  at  Trafalgar  and 
Waterloo,  in  which  battles  some  of  the  Bowater  family  fought,  has  been  dropped."    The 
Lord  Mayor  for  1913  was  Sir  T.  Vansittart  Bowater,  Bart. 

2  The  London  Times  for  9  November,  1914,  p.  10,  col.  2.    The  Order  of  Procession  is 
printed,  ibid.    In  addition  to  the  Canadian  and  New  Zealand  contingents,  a  detachment  from 
the  Newfoundland  contingent  of  the  Expeditionary  Force  also  took  part,  with  various  London 
troops. 

3  The  London  Times  for  10  November,  1914,  p.  9,  col.  i,  under  the  caption  Lord  Mayor's 
Day. 


140  ENGLISH  PAGEANTRY 

since  those  days.  Long  before,  KING  EDWARD  III,  and  the  BLACK  PRINCE  sat  with  their 
captive  guests  from  Poitiers  at  a  Lord  Mayor's  table.  Many  of  our  Kings  and  almost  all  our 
great  sailors  and  soldiers  have  been  entertained  at  the  Guildhall  by  the  Chief  Magistrate  of 
the  capital.  The  memories  of  our  struggles  and  of  our  triumphs  gather  thick  about  it.  QUEEN 
ANNE  and  GEORGE  III.,  CHATHAM  and  PITT  and  NELSON,  are  there  on  canvas  or  in  marble. 
It  is  right  to  recall  these  memories  at  this  tune,  not  in  any  spirit  of  boastfulness  or  of  over 
weening  self-confidence,  but  in  that  temper  of  calm  reliance  upon  the  righteousness  of  our 
cause  and  of  humble  trust  in  the  protection  of  Heaven,  which  the  nation  have  exhibited  since 
war  was  forced  upon  them. 

"  That  temper  was  conspicuous  in  the  ordering  of  the  procession  and  in  the  attitude  of 
the  people  of  London  yesterday.  With  a  just  sense  of  what  is  becoming,  which  the  crowds 
thoroughly  appreciated,  the  display  was  military  only,  and  military  in  a  stern  and  practical 
form.  Troops,  and  troops  in  khaki,  were  the  escort  of  the  LORD  MAYOR  and  of  the  chief 
officers  of  the  ancient  City  Companies.  The  Honourable  Artillery  Company,  the  London 
Territorials,  the  Royal  Naval  Reserve,  and  the  contingents  from  the  Dominions  were  all 
represented.  The  unusual  quiet  of  the  crowd  until  they  appeared,  and  the  enthusiasm  with 
which  they  were  cheered,  again  and  again,  as  they  marched  past,  struck  all  observers.  These 
signs  showed  the  earnestness  with  which  we  are  facing  the  great  ordeal  of  war,  and  the  grati 
tude  and  admiration  we  feel  for  our  champions.  The  Canadians,  New  Zealanders,  and  New 
foundlanders  were  greeted  with  special  warmth.  Londoners  were  eager  to  give  them  a  wel 
come  on  this,  their  first,  appearance  in  public,  which  should  convey  to  our  fellow-subjects 
beyond  the  seas  something  of  the  sentiments  their  love  of  the  old  country  and  the  old  flag 
kindles  amongst  us  at  home.  The  London  Scottish,  who  have  lately  given  their  brother 
Territorials  such  a  "  glorious  lead  and  example  "  at  the  front,  were  acclaimed  with  equal 
ardour.  This  year  the  joyous  popular  holiday  has  been  a  serious  demonstration.  The  change 
is  deeply  significant  to  those  who  know  our  people. 

"  The  speeches  at  the  banquet  teach  the  same  lesson  as  the  conduct  of  the  crowds  in  the 
streets.  They  show  that  we  are  absolutely  of  one  mind  as  to  the  justice  of  our  quarrel  and 
unanimously  resolved  to  fight  it  out,  at  all  costs  and  at  all  risks,  until  a  righteous  and  an  abid 
ing  peace  has  been  won.  For  that  end  we  have  spared,  and  we  shall  spare,  no  efforts  and  no 
sacrifices.  The  services  of  our  Allies,  and  of  all  who  are  fighting  for  the  common  cause,  were 
amply  acknowledged  by  more  than  one  speaker." 

THE  SHOW  FOR  1915;  A  PROMISE  or  THE  FUTURE 

The  "  Recruiting  "  Lord  Mayor's  Show  —  with  captured  guns,  is  pictured 
in  the  Illustrated  London  News  for  13  November,  191 5-1  Accompanying  the 
scenes  presented,  is  the  following  description: 

The  Lord  Mayor's  Show  of  this,  the  second  year  of  the  Great  War,  took  exceptional  and 
appropriate  form,  and  was  very  successful  despite  the  bad  weather.  It  started  at  11.30  from 
the  Guildhall,  earlier  than  usual  because  it  was  arranged  that  the  Guildhall  Banquet  in  the 
evening  should  begin  at  six  o'clock  instead  of  the  customary  seven.  Included  in  the  Proces 
sion  were  some  German  guns  captured  by  our  forces;  a  detachment  of  the  Anti-aircraft  Corps, 
with  guns;  a  detachment  of  the  R.  F.  C.,  with  aeroplane;  a  detachment  of  the  City  of  London 
National  Guard;  a  Canadian  Contingent;  and  Contingents  representing  Australia  and  New 
Zealand,  South  Africa  and  the  West  Indies.  In  addition  were  representatives  of  various  regi- 


See  that  periodical,  p.  617. 


O1 


PQ 


THE  LORD  MAYOR'S  SHOW  141 

ments,  the  Royal  Naval  Division,  the  Royal  Marine  Artillery,  and  the  Royal  Marine  Light 
Infantry.  Other  very  prominent  features  were  recruiting  bands  and,  following  the  Lord  Mayor 
and  his  escort  of  City  of  London  Yeomanry,  a  Recruiting  Column  of  considerable  strength. 
Before  the  arrival  of  the  Procession,  recruiting  meetings  were  held  at  various  points  of  the 
route,  and  it  was  arranged  that  recruits  should  fall  in  in  rear  of  the  Guards  detachment. 

A  promise  of  the  future  may  be  found  not  only  in  the  "  Royal  Pageant  on  the 
Thames  "  of  4  August,  1919,*  but  also  in  Mr.  Parker's  Show  for  1919.  This  took 
the  form  of  "  London's  Welcome  to  Peace,"  and  was  built  up  around  the  League 
of  Nations.2  Children  headed  the  procession,  with  a  decorated  car  containing 
a  large  globe  and  the  inscription,  "  You  will  build  the  new  world."  The  "  Herald 
of  Peace  "  preceded  a  wain  drawn  by  four  horses,  escorted  by  wagoners  in  long 
white  smocks;  in  the  wagon  were  the  five  continents  of  the  world —  Europe, 
Asia,  Africa,  America,  and  Australasia —  who  were  followed  by  a  long  cavalcade 
of  women  representing  the  Allied  States  and  neutral  countries,  each  in  her  na 
tional  costume  or  a  symbolic  one.  London  led  the  pageant,  and  Britannia  closed 
it,  with  the  Dominions  —  including  Newfoundland,  Canada,  South  Africa,  Aus 
tralia,  India  —  and  England,  Scotland,  Ireland,  and  Wales,  in  appropriate  cos 
tumes.  In  the  pageant,  Mr.  Parker  expressed  the  union  of  the  nations  necessary 
to  rebuild  a  world  which  the  war  had  shattered. 

This  survey  of  the  recent  Lord  Mayor's  Shows  indicates  a  gradual  change  in 
emphasis  from  the  history  of  a  particular  Company  to  the  history  of  the  city  as 
a  whole,  and  of  the  Empire.  No  longer  are  past  mayors  revived  because  they 
belonged  to  a  certain  guild;  though  the  Worshipful  Companies  still  march 
carrying  their  banners  and  those  of  former  illustrious  members,  the  mayors 
who  are  represented  are  those  who  have  helped  to  make  the  city  great.  Allegory 
and  symbolism  have  reappeared  —  but  they  show  Allied  nations,  and  symbolize 
the  Colonies  across  the  world.  The  primary  emphasis  is  still  on  entertainment 
rather  than  on  education;  for  it  is  difficult  to  give  lessons  which  will  sink  deeply 
into  the  popular  mind,  by  means  of  a  speech-less  parade;  but  the  sight  of  so 
many  former  worthies  —  admirals,  mayors,  generals,  and  sovereigns  —  must 
help  to  keep  alive  a  pride  in  the  past,  which  the  historical  "  folk-play  "  could 


1  See  the  Times  [weekly  edition:  for  Friday,  8  August,  1919,  p.  782]  for  mention  of  this 
greeting  to  the  British  Mercantile  Marine.    The  Royal  Barge,  "  the  last  survivor  of  many 
similar  vessels  which  added  to  the  gaiety  of  the  river  in  the  old  days,  was  at  once  the  most 
ancient  as  well  as  the  most  distinguishable  of  all  in  the  procession."    The  writer  in  the  Times 
finds  symbolism  in  the  display  of  house  flags  of  the  shipping  lines,  which  recalled  the  vessels 
sunk  in  the  War,  and  the  brave  fights  put  up  by  those  which  escaped.    This  pageant  rightly 
belongs  in  the  previous  chapter,  and  one  may  leave  further  mention  of  it  to  the  future  his 
torian  of  royal  progresses. 

2  The  Program  of  this  show  is  hi  the  Harvard  Library.    For  mention  of  it,  see  the  Times 
Weekly  Edition  of  14  November,  1919,  p.  1065,  and  the  illustrated  section,  p.  i.    (On  p.  iii  are 
reproduced  engravings  of  the  Lord  Mayor's  coach  in  Cheapside  [1768]  and  the  Fishmongers' 
"  pageant-chariot  "  of  1616.) 


142  ENGLISH  PAGEANTRY 

awaken  only  at  rare  intervals  even  if  it  could  be  satisfactorily  given  in  a  metropo 
lis.  What  this  "  folk-play,"  or  newer  pageantry  is,  we  shall  consider  in  a  later 
chapter;  in  this  place,  it  is  enough  to  indicate  the  fact  that  the  Lord  Mayor's 
Show —  the  chief  aim  of  which,  for  centuries,  has  been  to  amuse  the  crowds  — 
seems  to  be  absorbing  some  of  the  new  educational  spirit;  and  with  its  higher 
aims,  it  has  won  back  popular  favor.  The  earlier  programs  are  giving  place  to 
pamphlets,  neatly  bound  and  often  illustrated,1  which  contain  much  interesting 
material  beyond  the  mere  order  of  procession.  Even  as  far  back  as  1884,  there 
was  an  educational  purpose  in  the  show;  symbolism  is  still  there,  and  personi 
fication —  the  latter  more  important,  even,  than  it  used  to  be;  but  the  main 
element  is  history —  of  the  past,  to  inspire  pride  in  the  present;  of  the  present, 
to  awaken  effort  for  the  future.2 

CONCLUSION 

We  have,  in  this  chapter,  traced  in  fair  detail  the  course  of  the  Lord  Mayor's 
Show  from  the  time  when  London  first  had  a  mayor  to  the  year  1919.  We  have 
seen  how  mayor  and  citizens  rode  to  Westminster  early  in  the  thirteenth  century; 
how,  in  1422,  the  progress  was  first  made  by  water —  a  practice  that  soon  grew 
regular,  and  lasted  until  1857.  We  have  seen  how,  in  the  middle  of  the  sixteenth 
century,  the  pageants  which  had  been  connected  with  the  Midsummer  Show 
were  absorbed  into  the  civic  procession,  and  how  this  grew  in  importance  until, 
in  1585,  speech  was  added;  how  Peele,  Munday,  Dekker,  Middleton,  Heywood, 
and  even  Webster,  wrote  speeches  for  the  Show,  and  planned  the  symbolism, 
history,  and  allegory  which  were  to  honor  the  mayor  and  delight  the  populace. 
We  have  seen  the  elaborate  triumphs  which  took  place,  with  few  interruptions, 
from  1655  to  1702;  and  how  Settle's  final  show —  for  1708  —  could  not  be  given 
because  of  the  death  of  Queen  Anne's  husband. 

After  Settle's  day,  the  shows  fell  rapidly  from  favor;  scoffers  arose  who  — 
from  the  time  of  Ned  Ward  —  satirized  the  civic  procession  with  more  or  less 
venom.  Yet  royalty  continued  to  grace  the  triumphs  from  time  to  time,  and 
the  strong  popular  demand  for  them  kept  the  institution  alive. 

By  the  end  of  the  eighteenth  century,  little  of  the  old  pageantry,  save  the 
water-procession,  was  left;  early  in  the  nineteenth,  allegorical  or  symbolical 
"  transparencies  "  were  installed  in  the  Guildhall;  and  the  only  pageantic  fea 
tures  of  the  procession  were  the  "  knights  in  armor  "  who,  originating,  appar- 


1  Cf.  the  history  of  London  Bridge  published  with  the  1909  Order  of  Procession;  and  the 
history  of  Guildhall  prefacing  that  of  1910. 

2  The  soldiers  in  the  1914  Show  stimulated  recruiting  enormously.    Viewed  in  one  way, 
these  figures  personified  the  history  of  the  present  more  powerfully  than  anything  else  could 
have  done;  and  they  showed  that  —  even  in  the  dark  days  of  the  war  —  the  appeal  of  the 
Lord  Mayor's  Show  was  far  from  dead. 


ORDER    OF     PROCESSION 


SATURDAYS™   NOVEMBER   1919 


-  6y  •  Sdward  <§me$t 


: LONDON'S  WELCOME  TO  PEACE' 


THE  LORD  MAYOR'S  SHOW  H3 

ently,  from  a  trade-figure  of  the  Armourers  and  Braziers,1  soon  became  mere 
masqueraders,  representing  little  in  particular,  and  provided  by  successive  Lord 
Mayor  and  Sheriffs'  Committees,  regardless  of  the  Company  to  which  the  chief 
magistrate  belonged. 

In  1850,  Godwin's  letter  to  the  Lord  Mayor  demanding  an  improvement  in 
the  Show,  brought  about  the  abolition  of  these  figures  —  but  in  1851,  they  re 
turned  in  greater  numbers  than  ever.  Since  the  middle  of  the  century  the  Show 
has  become  more  and  more  pageantic ;  and  when  the  armed  men  have  appeared, 
they  have  been  given  a  pageantic  meaning.  The  Show  survived  the  attacks 
levelled  against  it  in  the  press  of  1853 ;  and,  in  1884,  we  find  it  aiming  not  merely 
to  give  pleasure,  but  also  instruction.  For  this  reason  there  has  been,  in  the  suc 
ceeding  years,  a  stronger  and  deeper  emphasis  on  the  treasured  history  of  London, 
and  on  the  City's  present  ties  with  the  Colonies. 

The  Show  has  survived  the  War.  It  was  used,  before  Parliament  voted  uni 
versal  service,  to  stimulate  recruiting;  it  proved  an  effective  aid  in  stirring 
national  pride  and  national  determination.  It  is  still  a  vital  thing;  and  now  that 
victory  and  peace  have  come  to  Great  Britain  and  her  Allies,  we  may  expect 
that  the  annual  procession,  deeply  rooted  in  the  past  as  it  is,  will  take  on  a  new 
strength,  nourished  by  the  glorious  chapters  of  England's  history  which  have 
just  been  written  —  not  only  by  the  mother-country,  but  by  the  Colonies  as 
well.  The  increasing  vigor  which  the  Show  has  displayed  since  1884,  the  sober 
ness  of  a  nation  emerging  from  a  Titanic  struggle,  and  the  wealth  of  heroism  which 
the  war  engendered,  allow  us  to  hope  that  in  the  future  a  more  serious  effort  will 
be  made  to  celebrate  worthily  the  greatness  of  a  capital  whose  glory  does  not 
decrease  with  age.  Handicapped  as  she  is  by  the  "  technique  "  of  a  street  parade, 
Art  has  the  material,  and  can  find  a  method,  of  giving  the  London  public  yearly 
a  dignified  and  adequate  reminder  of  its  rich  Past  and  noble  Present. 

We  shall  see  the  emphasis  on  the  educational  value  of  a  pageant  more  clearly 
marked  in  the  "  community  dramas  "  which  we  shall  discuss  in  a  later  chapter. 
These  have  adopted  the  name  pageant,  and  are  what  most  people  think  of  when 
the  word  is  used  today.  "  None  of  the  present  so-called  pageants"  writes  Mr. 
W.  C.  Langdon,2  "  have  anything  really  to  do  with  the  mediaeval  pageant; 
they  all  alike  have  no  right  to  the  name.  But  the  community-drama  stole  the 
word  first;  therefore  its  title  should  be  respected  .  .  .  The  modern  pageant  is  a 
new  thing  .  .  .  Mr.  Parker  simply  took  the  name;  he  did  not  continue  the  thing. 
He  made  a  new  one." 


1  Possibly  the  trade-figure  may  have  been  adapted  from  an  earlier  chivalric  or  historical 
figure,  or  have  been  a  development  of  the  Marching  Watch  which  was  a  usual  accompani 
ment  of  the  Midsummer  Show.    (Cf.  above,  vol.  i,  p.  47  f.) 

2  In  a  letter,  dated  9  September,  1912. 


144  ENGLISH  PAGEANTRY 

We  shall  shortly  turn  to  a  consideration  of  the  Parkerian  "  pageant  "  —  its 
origin,  development,  and  the  different  kinds  of  entertainments  which  claim  the 
name  today.  Mr.  Parker  has  frequently  told  me  that  he  was  not  influenced  by 
the  Lord  Mayor's  Show  at  all;  and  while  "  none  of  the  present  so-called  pag 
eants  have  anything  really  to  do  with  the  mediaeval  pageant,"  there  were  un 
doubtedly  features  in  common  between  the  older  and  these  newer  forms. 

The  emphasis  on  history,  which  is  so  strong  in  the  "  folk-play  "  or  "  com 
munity-drama,"  returns  to  the  Lord  Mayor's  Show  as  early  as  1884;  —  it  was 
common  enough  in  the  seventeenth-century  shows,  and  was  made  the  basis  of 
a  pantomime  in  1 783.  The  history  of  the  more  recent  Lord  Mayor's  Shows  deals, 
as  I  have  repeatedly  pointed  out,  with  that  of  the  community  rather  than  with 
that  of  any  particular  guild ;  it  is  no  incidental  recalling  of  the  past,  but  tends 
to  be  the  framework  on  which  everything  else  is  built;  London  as  a  whole  is 
glorified.  There  is,  in  this  matter,  a  possible  exchange  of  influence;  the  grow 
ing  importance  of  history,  from  1884  on,  may  have  been —  quite  unconsciously 
-  felt  by  Mr.  Parker;  or  he  may  have  been  influenced  by  the  same  causes  which 
produced  it.  And  the  historical  element  in  the  civic  shows  probably  did  much 
to  prepare  Mr.  Parker's  audiences  to  appreciate  his  work.1 

Besides  the  civic  processions  of  London,  there  were  pageantic  activities  in  the 
provinces,  and  these  we  shall  examine  in  the  next  chapter.  Some  of  these  pag 
eants  are  closely  connected  with  folk-custom;  others  have  a  trade-origin,  and 
we  find  some  —  long  before  the  Parkerian  "  folk-play  "  -  celebrating  civic 
anniversaries.  We  must  keep  in  mind  the  fact  that  these  shows  developed  be 
side  the  London  mayoralty  processions,  and  may  have  had  an  influence  on  these, 
as  well  as  on  the  Parkerian  pageants.  Many  who  saw  the  performance  at  Sher- 
borne  in  1905,  had  probably  seen  a  certain  number  of  the  Lord  Mayor's  Shows 
since  1884,  or  recalled  such  occasions  as  the  Ripon  anniversary  of  1886;  if  so, 
the  history  of  these  processions  lived  for  them  in  a  way  it  does  not  in  books; 
and  they  could  appreciate  more  fully  a  play  based  on  history. 

All  this  is,  of  course,  mere  surmise.  There  is  no  way  of  settling  just  what 
exchanges  of  influence  may  have  taken  place  —  but  there  were  probably  some, 
even  if  Mr.  Parker's  choice  of  the  word  pageant,  when  folk-play  failed  to  arouse 
interest,  was  made  without  thought  of  the  Lord  Mayor's  Show,  or  such  proces- 

1  Similarities  between  earlier  and  later  pageants  do  not  necessarily  prove  an  influence. 
The  knitting  women  at  Swansea  in  1881  (see  above,  vol.  i,  p.  257)  are  probably  not  due  to 
the  spinners  at  Norwich  in  1578  (see  above,  vol.  i,  p.  211);  Robin  Hood,  "  attended  by '  Little 
John,  Scathlocke,  Much  the  Miller's  sonne,  Right-hitting  Brand,  Fryar  Tuck  and  many 
more,'  "  appeared  in  Munday's  1615  Show  [Fairholt,  pt.  i,  p.  40];  he  was  also  a  common 
figure  in  the  court  masques  of  Henry  VIII;  he  appeared  in  Parker's  Sherborne  Pageant  of 
1005,  the  Lancaster  (Massachusetts)  Pageant  of  1912,  and  the  Lord  Mayor's  Show  of  1913. 
This  does  not  mean  that  the  Robin  Hood  plays,  the  Court  disguisings,  or  the  Lord  Mayor's 
Shows  influenced  the  modern  pageants  directly;  or  that  Robin  Hood  did  not  come  straight 
from  the  ballads  to  each. 


THE  LORD  MAYOR'S  SHOW  145 

sions  as  those  at  Preston,  Coventry,  Lichfield,  and  Ripon.  In  the  old  sense  of 
the  word,  a  pageant  was — as  we  have  seen  —  something  "put  together": 
giant,  animal,  stage,  or  wagon.  To  this  background  came  hero,  saint,  patriarch, 
angel,  knight  —  allegory,  symbolism,  history,  and  mythology,  which  have  be 
come,  as  the  "  soul "  of  pageantry,  so  necessary  an  element  that  often  a  pro 
cession  may  lose  the  cars  or  "  floats  "  and  —  keeping  the  personified  qualities 
or  historical  characters  —  still  be  regarded  as  pageantic. 

In  the  next  chapter,  we  shall  examine  some  of  the  pageantry  which  lies  out 
side  the  "  royal-entry,"  and  the  Lord  Mayor's  Show.  These  celebrations  are, 
in  some  cases,  survivals  of  older  ones:  in  others,  they  are  due  to  the  interest  in 
the  past,  which  is  one  of  the  characteristics  of  the  nineteenth  century  —  an 
interest  which  may  be  mirrored  in  the  later  London  civic  shows,  as  well,  and  which 
came  —  in  pageantry  —  under  the  leadership  of  Mr.  Louis  N.  Parker,  to  a  full 
fruition  in  the  Sherborne  Pageant  of  1905. 


CHAPTER  VII 

SURVIVALS  AND   REVIVALS 

WE  have  traced  the  development  of  "  royal-entry  "  and  Lord  Mayor's  Show, 
and  have  seen  how  the  former  declined  when  the  latter  was  at  its  height ; 
how  the  pageantry  of  London  civic  triumphs  grew  out  of  the  Midsummer  Show, 
which  existed  beside  the  earlier  "  royal-entries  ";  and  how  much  the  "  formal  " 
pageantry  owes  to  the  folk-celebrations,  which  often  included  one  or  more  pag- 
eantic  elements.  Outside  the  pageants  provided  by  civic  authorities  for  sovereign 
and  mayor,  and  the  pageantic  features  borrowed  by  the  courtiers  for  their 
masques  and  barriers,  lie  certain  survivals  and  revivals  of  older  pageantry  which 
we  shall  examine  before  turning  to  the  Parkerian  work. 

In  this  chapter  we  shall  treat  such  pageants  as  those  of  Lichfield,  Knutsford, 
and  Grimsby,  which  have  their  root  in  folk-custom;  such  processions  as  those 
at  Salisbury,  Edinburgh,  Preston,  and  Coventry,  which  seem  to  spring  from 
trade;  such  political  pageantry  as  the  "  Pope-burnings  "  of  the  time  of  Charles 
II,  and  of  Colonial  Boston,  nearly  a  century  later,  as  well  as  the  "  Orange  Pro 
cessions  "  of  Belfast  and  other  North  of  Ireland  cities;  "  occasional  "  pageants, 
such  as  the  Peace  Celebration  of  1814,  the  Ripon  Millenary  Celebration  of  1886, 
the  Liverpool  Pageant  of  1907  (which  was  not  Parkerian)  referring  briefly  to  a 
couple  of  modern  pageantic  processions  on  the  Continent. 

We  shall  also  consider  the  revival  of  the  tournament  in  England,  artificial  as 
it  is;  and  give  a  passing  glance  at  the  pageantic  tournament  at  Compiegne  of 
the  days  before  the  War.  And,  finally,  we  shall  examine  Christina  Rossetti's 
Pageant  of  the  Months  —  an  example  of  a  large  class  of  productions  wrongly 
called  "  pageants  "  -  to  show  why  it  has  no  right  to  the  name. 

§  i.    FOLK-PAGEANTRY 

We  have  already  dealt  with  folk-pageantry,1  and  it  will  not  be  necessary  to 
repeat  what  was  said  above;  let  me  merely  remind  the  reader  that,  in  its  simplest 
form,  this  folk-pageantry  is  practically  a  revel,  or  masquerade.  This  is  what 
may  be  called  the  "  raw-material  "  of  pageantry  —  it  is  found  whenever  any 
one  dresses-up  to  represent  someone  he  is  not.  The  girl  who  goes  to  a  fancy- 
dress  ball  as  one  of  the  Muses  is  —  in  herself  —  just  as  pageantic  as  if  she  were 
to  occupy  a  car  in  the  Lord  Mayor's  Show,  and  represent  Clio,  leading  a  de 
tachment  of  famous  chief  magistrates.  What  makes  her  unpageantic  at  the 
ball  is  her  surroundings.  Such  notices  as  those  under  the  caption  "  Balls  and 

1  See  chapter  i. 

146 


SURVIVALS  AND  REVIVALS  147 

Pageants  "  in  the  London  newspapers,1  show  that  these  masquerades  are  com 
ing  to  have  a  central  idea;  one  was  planned,  which  should  represent  "  famous 
men  and  women  from  B.C.  7000  to  A.D.  2914  "; 2  but  even  these  are  rather  out 
growths  from  pageantry,  than  pageants  themselves.  At  best  they  have  but  the 
"  soul  "  of  pageantry —  they  lack  the  body,  spirit,  and  technique  of  this  form 
of  art.  From  early  days  until  the  present,  Court  revels,  artists'  festivals  and  the 
like  have  been  common  enough;  but  they  lie  outside  our  field. 

ARTISTS'  REVELS  WITH  PAGEANTIC  FEATURES 

Sometimes,  however,  these  revels  add  to  the  "  soul  "  of  pageantry  the  pageant- 
car.  An  example  of  this  kind  of  thing  may  be  found  described  in  the  Illustrirte 
Zeitungior  i852.3  The  artists'  festival  at  Diisseldorf,  on  12  June,  1852,  included 
cars;  the  Venusberg,  King  Arthur,  Percival,  and  other  Knights  of  the  Round 
Table,  Eckhard,  Tannhauser,  Venus,  the  devil,  etc.,  appeared.  A  fight  took 
place,  but  was  stopped  by  Venus,  who  captured  the  knights  and  bound  them 
prisoners  with  flowers.  Costumes  of  the  twelfth  and  fifteenth  centuries  mingled 
harmoniously  together,  "  Marchenfiguren  aus  vielen  Zeitaltern."  As  the  Zeitung 
says,  "  Der  Plan  ist  bunt  und  phantastisch  ";  and  while  the  celebration  has 
pageantic  features,  it  more  nearly  resembles  the  carnival.4 

These  celebrations,  though  not  unknown  in  England  and  America,  are  more 
common  on  the  Continent.  The  Fleet  Street  Revel,  and  other  artists'  balls  in 
England,  commonly  take  place  indoors,  without  pageantic  accompaniments. 

1  Cf.  e.  g.,  the  London  Sunday  Times  for  19  April,  1914. 

2  This  was  held  at  the  Hotel  Cecil  on  4  May,  1914;  among  the  characters  to  be  presented 
were  Lady  Jane  Grey,  Garibaldi,  the  Hon.  Mrs.  Norton,  Vittoria  Colonna,  Fanny  Burney, 
&c.    (Cf .  the  Sunday  Times,  loc.  tit.) 

3  No.  477,  (xix,  pp.  ii9f.). 

4  On  20  March,  1852,  the  first  artists'  festival  in  Hamburg  took  place.    This  is  described 
in  the  Illustrirte  Zeitung,  xviii,  pp.  36of.  (no.  466).     A  Meistersinger,  a  minstrel,  Albrecht 
Diirer,  and  Till  Eulenspiegel  were  among  the  characters.    The  "  Winzerfest "  at  Vevey  (7 
and  8  August)  celebrated  every  fifteen  or  twenty  years,  is  described,  ibid.,  xvii,  pp.  211  f.  (no. 
427).    Here  was  a  car  of  Bacchus,  attended  by  boys  dressed  in  leaves. 

It  is  not  uncommon  for  French  students  to  have  these  pageantic  carnival-processions. 
I  saw  that  at  Lyons  on  Mi-careme,  1910;  there  were  cars  filled  with  flancifully-dressed  char 
acters;  and  students  with  bags  on  the  end  of  long  sticks  collected  money  from  the  crowd  — 
with  which,  if  I  remember  rightly,  they  were  to  defray  the  expenses  of  their  ball.  Cf.  with 
such  shows  the  entry  of  Bacchus  into  Lyons  in  1627,  which  is  described  in  a  pamphlet  entitled, 
Entree  Magnifique  de  Bacchus  avec  Madame  Dimanche  Grasse,  sa  Femme,  faicte  en  la  mile  de 
Lyon,  le  i^feburier  1627.  Cf.  above,  vcl.  i,  p.  77,  n.  i. 

In  this  procession,  there  were  cars  —  and  figures,  personifying  various  inn-signs,  spoke. 
The  humorous  character  of  the  procession  is  suggested  by  "  Le  Mont  de  Parnasse  Represente 
par  Neuf  Lavandieres  au  Lieu  des  Neuf  Muses,"  (op.  til.,  p.  39)  whose  verses  are  in  patois. 
The  whole  thing  seems  to  have  been  a  pageantic  carnival,  or  revel,  of  which  it  is  needless  to 
give  more  examples. 


148  ENGLISH  PAGEANTRY 

These  affairs  suggest  the  older  court  "  disguisings,"  in  that  they  interest  and 
appeal  to  a  small  group  of  the  community ;  even  when  they  borrow  the  pageant- 
car,  they  are  hardly  pageants. 

Just  as  the  "  knights  in  armor  "  of  the  Lord  Mayor's  Shows  ceased  to  be 
pageantic  as  soon  as  they  ceased  to  represent  King  Arthur,  Charlemagne,  St. 
George,  or  even  a  trade-figure  of  the  Armourers'  Company,  so  the  folk-mum 
mers  who  represent  no  one  in  particular,  fail  to  be  pageantic.  The  small  chil 
dren  in  many  American  towns  who  on  Hallowe'en  dress  up  and  go  from  house 
to  house  are  simply  mummers  disguised;  an  historical  suggestion  makes  the 
English  child,  with  his  "  Guy,"  somewhat  more  pageantic.  Only  when  a  couple 
represents  another  who  won  the  Dunmow  Flitch  a  century  and  a  half  before, 
is  there  any  pageantry  in  connection  with  that  ancient  folk-custom;  and  even 
then,  the  element  is  slight.  One  of  the  oldest  folk-customs  in  England  which  has 
pageantic  features  is  the  Lichfield  "  Greenhill  Bower  ";  let  us  examine  this  in 
some  detail. 

THE  LICHFIELD  "  GREENHILL  BOWER  " 

The  Origin  of  this  remarkable  and  ancient  Custom  is  uncertain.  Some  suppose  it  was 
first  instituted,  an.  657  by  Oswius,  ...  in  memory  of  a  Victory  obtained  by  him  linear  this 
place)  at  the  head  of  the  Christians,  over  Penda  .  .  . 

Others  conclude,  that  the  Custom  is  founded  upon  an  act,  made  in  the  27th  year  of  the 
Reign  of  King  Henry  the  Second  (1176)  ...  by  which  it  was  enacted  that  the  High  Constables 
of  every  Town,  &c.  should  oftentimes  view  the  Arms  and  Armour  of  the  Men  in  their  Fran 
chise  or  Liberty  .  .  .l 

In  the  time  of  William  and  Mary,  Celia  Fiennes  described  the  show  in  her  diary: 2 
'  They  have  [in  Lichfield]  a  Custome  at  Whitsontide  ye  Monday  and  Tuesday 
Call'd  ye  green  Bower  feast,  by  which  they  hold  their  Charter.  The  Bailiff  and 
Sheriff  assist  at  ye  Cerimony  of  dressing  up  Baby's  with  garlands  of  flowers  and 
Carry  it  in  procession  through  all  ye  streetes,  and  then  assemble  themselves  at 
ye  Market  place  and  so  go  on  in  a  solemn  procession  through  the  great  streete 
to  a  hill  beyond  the  town  where  is  a  Large  Bower  made  with  greens  in  wch  they 
have  their  feast.  Many  lesser  Bowers  they  make  about  for  Conveniency  of  ye 
Whole  Company  and  for  selling  fruite  Sweetemeetes  and  Gingerbread  wch  is  a 
Chief  Entertainment." 


1  Jackson,  Hist.  City  and  Cathedral  of  Lichfield  (1795)  i,  pp.  27  f.,  gives  an  account  of  the 
Bower.    Cf.  Harwood,  Hist.  andAntiq.  of  Lichfield  (1806),  pp.  352  f.;  on  p.  353,  n.,  he  reprints 
the  statutes  27  Henry  II  (1176)  and  13  Edward  I  (1285)  "  which  enacted,  that  the  high  con 
stables  of  every  town  should  view,  at  stated  periods,  the  arms  and  armour  of  the  men  within 
their  district .  .  .  The  first  Commission  of  Array,  which  we  meet  with,  was  issued  in  the  reign 
of  K.  Henry  V  (Rymer,  ix,  pp.  254,  255)  ...  The  statutes  of  Array  were  repealed  in  the  reign 
of  James  I  when  a  military  force  superseded  the  necessity  of  such  a  measure;  notwithstand 
ing  which,  the  Bailiffs  have  constantly  held  a  manerial  court  on  Green-hill,  at  the  same  time 
as  the  view  of  men  and  arms,  according  to  ancient  charter  and  prescription.    It  is  now,  how 
ever,  an  idle  and  useless  ceremony,  adapted  for  the  amusement  of  children." 

2  Through  England  on  a  Side  Saddle,  p.  135. 


SURVIVALS  AND  REVIVALS  149 

Jackson's  account  of  the  ceremony,  written  about  a  century  later,  includes 
mention  of  "  armed  men  "  and  morris  dancers  who  escorted  the  city  officers  to 
the  Bower,  "  where  the  stile  and  title  of  the  Court  is  proclaimed  by  the  Com 
mon  Cryer  .  .  .  and  all  persons  owing  suit  and  service  to  this  Court,  anciently 
called,  '  The  Court  of  Array,  or  view  of  Men,  and  Arms '  of  the  Manour  and 
Lordship  of  Lichfield,  are  required  to  appear,  under  pain  of  fine  and  amercie- 
ment.  The  Dozeners,  or  petty  Constables,  of  the  21  Decennaries  or  Wards  in 
the  City,  attend  with  emblems  of  their  respective  Trades,  or  other  Devices  .  .  . 
During  the  course  of  the  Day,  the  High  Constables,  &c.  perambulate  the  City, 
the  Armed- Men  Fire  a  Volley  over  each  House;  and  the  Evening  concludes 
with  a  Procession,  through  the  principal  Streets,  to  the  Market-place  .  .  ." 

Harwood,  whose  account  was  published  in  1806,  attaches  this  to  such  folk- 
customs  as  the  Midsummer  Watch,  which  we  have  already  dealt  with.2  '  This 
Court,"  he  says,  "  was  anciently  called  *  The  Court  of  Array  or  View  of  Men 
and  Arms.'  The  public  officers  of  the  city  attend,  and  various  processions  are 
made  by  the  constables  and  dozeners  of  each  ward;  who,  in  these  processions, 
anciently  bore  tutelary  saints,  but  which  [sic]  are  now  converted  into  garlands  of 
flowers,  or  emblems  of  their  trade.  They  are  attended  by  morrice  (or  moresque) 
dancers  who  appear  in  their  shirts,  with  ribbands  of  various  colours  tied  round 
their  arms,  and  flung  across  their  shoulders.  They  dance  sarabands,  chacons, 
&c.  in  imitation  of  the  Moors  ..." 

He  considers  that  "  the  origin  of  this  mixture  of  a  religious  and  military 
custom,  which  is  very  ancient  in  the  city,"  is  probably  due  to  the  campus  martins, 
"  which  was  an  annual  assembly  of  the  people  upon  May-day;  when  they  con 
federated  together  to  defend  the  kingdom  against  all  foreigners  and  enemies,  as 
mentioned  in  the  laws  of  Edward  the  Confessor."  3 

About  the  year  1890  Mr.  Councillor  William  A.  Wood  joined  the  Bower 
Committee,  and  from  then  on  "  official  programs  "  have  been  issued.4 


1  Jackson,  i,  pp.  27  f. 

2  See  above,  vol.  i,  pp.  36  f.    (I  quote  from  his  work,  already  cited,  pp.  352  f.). 

3  The  Bower  of  1850  is  described  and  pictured  in  the  Ittus.  Land.  News  for  2  5  May,  1850, 
p.  364.    There  are  illustrations  of  the  "  knight,"  the  morris  dancers,  and  some  of  the  civic 
officials,  among  whom  is  the  Town  Crier,  who  exercises  his  functions  at  Lichfield  to  this  day. 
Photographs  of  this  custom  are  in  Stone. 

4  Thanks  to  Mr.  Wood,  a  collection  of  these  programs  has  been  placed  in  the  Harvard 
Library.    The  collection  is  not  complete;  with  the  exception  of  those  for  1893  and  1895,  all 
the  programs  date  from  the  twentieth  century;   but  it  is  hoped  that  lacuna  may  later  be 
filled.    Every  program  since  1904  contains  a  brief  notice  of  the  antiquity  of  this  cele 
bration. 

The  following  quotations  are  from  various  letters  which  Mr.  Wood,  then  chairman  of  the 
"  Bower  Committee,"  wrote  me  in  the  autumn  of  1913: 

"  There  is  no  doubt,"  writes  Mr.  Wood,  "  that  the  celebration  took  its  rise  in  the  Courts 
of  Array  ...  In  course  of  years  the  military  portion  of  the  proceedings  was  dropped,  except 
for  spectacular  and  picturesque  purposes;  and  local  and  topical  features  were  introduced  .  .  . 


ISO  ENGLISH  PAGEANTRY 

We  may  sketch  a  few  examples  of  this  show  between  1893  and  igi^1  In 
the  former  year,  as  the  custom  is,  the  procession  started  from  the  Guildhall  at 
one  o'clock,  and  wound  its  way  through  the  town  to  the  "  Bower  House  ";  at 
the  entrance  to  the  Guildhall,  the  Mayor  and  Corporation  reviewed  it.  The 
marchers  were  headed  by  boys  on  cobs  or  ponies,  the  winner  of  the  first  prize  in 
the  competition,  leading;  then  followed  Wombwell  and  Bailey's  "  World- 
Renowned  Menagerie,"  with  their  brass  band;  historical  and  miscellaneous 
characters,  (suggesting  the  carnival)  followed  —  among  them  Shylock,  Portia, 
Friar  Tuck,  Little  John,  Robin  Hood;  Buffalo  Bill,  Mexican  Joe,  a  Toreador, 
a  Chinaman,  John  Bull,  a  Yellow  Dwarf,  and  Mephistopheles.  Then  came  royal 
and  political  characters  —  the  Prince  of  Wales,  the  Duke  of  Cambridge,  Lord 
Salisbury,  Mr.  Gladstone,  Mr.  Chamberlain,  and  Lord  Randolph  Churchill. 

:t  Tableaux  Staged  on  Cars,  Representing  Nursery  Tales  "  included  Sleeping 
Beauty,  (who  was  followed  by  Henry  VIII,  Wolsey,  the  Earl  of  Leicester  and 
Sir  Richard  Varney);  Cinderella,  (followed  by  Cavaliers,  Roundheads,  Charles  I 
and  Cromwell);  Red  Riding  Hood,  (followed  by  George  II,  George  III,  and  an 
officer  of  his  time),  and  the  Old  Woman  who  lived  in  a  Shoe.  Then  came  "  Mor- 
rice  Dancers,"  a  maypole,  and  the  "  Grand  Mediaeval  Display  of  Ye  Olde  Court 
of  Arraye,  consisting  of  Knights  and  Men  at  Arms."  In  this  division  were 
trumpeters,  heralds,  a  company  of  Halberdiers,  bearing  the  City  Halberds  and 
Axes,  "  the  Knight  of  Lichfield  "  and  "  the  Knight  of  the  Diocese,"  attended 
by  squires;  a  Jester,  a  Knight  in  Black  Armor,  a  Knight  in  Chain  Armor,  and 
a  youthful  knight  of  the  time  of  Edward  V,  attended  by  his  squires,  and  sup- 


It  is  believed  that  the  '  Bower '  is  the  last  remaining  regular  representation  of  a  Court  of 
Array  in  England,  and  to  Lichfield  people  and  neighbouring  districts,  it  still  retains  marvel 
lous  vitality,  and  is  a  perpetual  source  of  pleasure  and  interest .  .  . 

"...  I  don't  think  there  has  been  any  actual  break  in  the  celebration,  since  its  inception; 
there  have  been  years  when  little,  perhaps,  has  been  done,  but  I  believe  the  '  Bower '  has 
been  celebrated  in  some  fashion  continuously  .  .  .  From  the  earliest  times,  the  City  Trade 
Guilds  took  part  in  the  Festival,  and  I  well  remember  old  flags,  &c.,  indicative  of  the  various 
Trades,  being  part  of  the  paraphernalia;  but  from  want  of  care  in  storage  these  have  become 
lost. 

"  The  Pageant  Cars  were  introduced  in  the  early  'nineties  by  Mr.  C.  J.  Corrie,  then  City 
Surveyor;  one  of  the  first  was  a  '  Stanley  '  car,  in  the  year  after  Stanley  returned  from  '  Dark 
est  Africa.'  The  Trade  Exhibits  on  Cars  were  introduced  afresh,  about  the  same  time,  and 
these  were  arranged  by  individual  firms  .  .  . 

"  Like  every  other  popular  entertainment,  it  is  getting  increasingly  difficult,  owing  to  a 
variety  of  reasons,  to  keep  the  '  Bower '  going,  and  its  arrangement  entails  much  work  and 
responsibility  on  the  leaders,  and,  with  the  inevitable  corollary,  very  little  thanks.  But  from 
old  association,  and  because  of  the  benefit  to  the  City  in  the  way  of  business,  a  few  enthusiasts 
besides  myself  manage  to  keep  the  Festival  alive,  and  what  is  more,  I  think  it  was  never  more 
vigorously  tackled  than  it  is  now." 

1  My  authorities  are  the  programs  of  the  Shows;  the  procession  which  took  place  on 
Whitmonday,  in  1914,  I  had  the  pleasure  of  witnessing. 


SURVIVALS  AND  REVIVALS  151 

ported  by  a  company  of  youths  on  foot,  clad  in  chain  armor,  and  carrying  spears 
and  banners.1 

Then  came  the  Trades'  procession,  the  Odd-Fellows'  display,  and  those  of 
other  Friendly  Societies;  and,  after  a  band,  the  Mayor,  Corporation,  Bower 
Committee,  with  other  officials.  "  Humorous  and  comical  characters  "  brought 
up  the  rear.2 

LlCHFIELD  AND   DR.    JOHNSON 

Although  this  includes  historical  characters,  it  suggests  rather  the  carnival  or 
revels  than  a  pageant.  The  pageantic  features,  such  as  cars,  historical  or  sym 
bolical  tableaux,3  became  more  closely  related  to  a  central  idea,  and  so  more  im 
portant,  as  the  show  developed.  In  1909,  the  central  idea  of  the  "  Bower  "  was 
the  celebration  of  the  two-hundredth  anniversary  of  the  birth  of  Samuel  John 
son,  "  Lichfield's  greatest  citizen."  Three  of  this  year's  tableaux  were  meant  to 
illustrate  his  genius;  "  the  first,  devoted  to  '  Literature  '  is  a  picturesque  at 
tempt  to  bring  this  about.  The  central  figure  (a  female)  is  illustrative  of  classical 
scholarship;  round  her  are  grouped  boy  and  girl  scholars,  four  students  bearing 
emblems  marking  phases  in  Johnson's  learning,  and  at  the  rear  a  representation 
of  a  Doctor  of  Laws  ...  A  second  Tableau  represents  '  Poetry.'  There  we  see 
the  muse  of  poetry  attended  by  *  Fame  '  carrying  a  torch,  and  grouped  round 
these  are  '  Genius,'  '  Song,'  '  Art '  and  '  Truth.' 

"  Another  Tableau  is  illustrative  of  the  '  Drama.'  No  more  fitting  figure 
could  be  found  to  occupy  the  seat  of  honour  than  Johnson's  pupil  and  friend 
David  Garrick,  the  greatest  English  actor  of  all  time.  Round  him  appear  char 
acters  from  some  of  Shakspere's  most  celebrated  plays,  including  Shylock  and 
Portia,  Hamlet  and  Ophelia,  Othello  and  Desdemona,  and  Orlando  and  Rosa 
lind." 

Beside  these  Johnsonian  floats,  there  was  a  procession  of  notable  sheriffs  from 
1553  to  1767  —  one  from  each  reign  from  Mary  to  George  III.  A  tableau  en 
titled  "  Boy  Scouts,"  and  another,  "  The  National  Service  League,"  4  followed. 


1  This  section  of  the  procession  is  strongly  suggestive  of  the  Lord  Mayor's  Shows  of  the 
early  nineteenth  century.     The  armed  men  here,  however,  are  descended  from  the  soldiers 
in  whom  the  show  found  its  origin. 

2  In  the  afternoon  was  a  distribution  of  "  Bower  cakes  ";  an  open-air  band  concert  and 
an  organ  recital  in  the  Cathedral. 

3  "  Russia,"  "  Japan,"  "  Grace  Darling,"  and  the  "  Life  Boat  "  are  among  the  tableaux 
exhibited  in  1904.     They  suggest  the  contemporary  Lord  Mayor's  Show.     "  L'Entente 
Cordiale  "  was  one  of  the  tableaux  in  1906;   in  1907,  "  Peace  "  and  "  Imperial  Unity  "  ap 
peared,  and  in  1908  an  attempt  was  made  to  illustrate  in  the  procession,  "  various  incidents, 
buildings,  and  individuals  connected  with  the  Siege  of  Lichfield  in  the  Reign  of  Charles  I, 
and  with  the  stirring  events  of  the  Civil  War."    This  may  show  the  effect  of  the  Parkerian 
pageantry  on  this  old  custom. 

4  Designed,  a  note  in  the  program  tells  us,  "  to  enforce  on  British  men  and  boys  the  vital 


152  ENGLISH  PAGEANTRY 

A  CORONATION- YEAR  PAGEANT 

In  191 1,  the  leading  motif  bore  special  reference  to  the  Dominions  of  George  V, 
this  being  Coronation  year.  England,  Scotland,  Ireland,  and  Wales,  "  the  nu 
cleus  of  His  Majesty's  possessions,  from  which  springs  his  glorious  Empire  be 
yond  the  seas,"  were  represented  as  follows:  England,  the  Motherland,  was 
depicted  by  "  Britannia  .  .  .  forging  on  an  anvil  a  chain  of  many  links  inscribed 
with  the  names  of  the  Colonies  innumerable  which  owe  their  birth  and  well- 
sustained  being  to  the  glorious  deeds,  both  peaceful  and  warlike,  of  our  ancestors. 
Four  corner  figures  represented  the  chief  divisions  of  the  British  Dominions  — 
namely:  Canada,  Australia,  India,  and  South  Africa. 

"  Scotland,  the  land  of  the  Firs,  is  well  pictured  by  a  female  figure,  '  Bonnie 
Scotland,'  with  her  picturesque  attendants  in  kilt,  plaid  and  sporran. 

"  Erin,  that  charming  and  poetic  ideal  of  the  Green  Island,  represents  Ireland, 
supported  by  pretty  pictures  of  Irish  girlhood  .  .  . 

"  A  unique  incident  is  imported  into  the  display  by  the  choice  of  the  Investi 
ture  of  young  Prince  Edward  as  '  Prince  of  Wales,'  as  the  picture  designed  to 
typify  Wales.1  Centuries  have  run  their  course  since  the  last  occasion  on  which 
a  Prince  of  Wales  was  invested  in  state  to  the  rank  and  dignity  of  his  Office. 
The  attempt  now  being  made  to  illustrate  this  function  may  be  useful  in  remind 
ing  us  of  the  interesting  event  which  is  so  soon  to  be  enacted  at  Carnavon  Castle." 

The  other  features  of  the  procession  were  much  the  same  as  usual :  a  military 
display  of  mounted  men  preceded  the  armed  knights  of  the  "  Grand  Court  of 
Arraye  ";  and  the  trades'  procession  and  fire-brigade  display  followed  as  usual. 

"  The  chief  products  of  Peace  and  Amity,"  were  chosen  for  representation 
in  1912 —  the  Drama,  Music,  Painting,  and  Sculpture;  but  in  1913,  the  pro 
cession  became  more  suggestive  of  the  carnival,  for  the  tableaux  consisted  of 
"  The  May  Pole,"  "  The  May  Queen,"  "  Springtime,"  and  "  The  Jack  in  the 
Green."  In  1914,  children  showed  "  Little  Red  Riding-Hood,"  "  Beauty  and 
the  Beast,"  "  Sleeping  Beauty,"  and  "  Cinderella."  The  knights  wore  "  au 
thentic  Armour  of  great  value  and  historic  interest,"  which  is  kept  in  the  City 
Museum  save  when  worn  in  this  procession.  There  appeared  also  some  trade 
floats,  boy  morris  dancers,  and  mounted  characters  in  Elizabethan,  Cavalier,  and 
Foresters'  costumes;  after  the  "  Bower  "  luncheon,  athletic  sports,  and  dancing 
on  the  green  occupied  the  crowd  till  sunset;  and  in  the  evening  there  was  a  fair. 

Such,  then,  is  the  Lichfield  "  Bower."  On  an  old  folk-custom,  arising  from 
a  military  review,  was  grafted  a  pageantic  show  which  suggested  carnival  or 
revel.  Recently  —  perhaps  under  the  influence  of  the  Parkerian  pageantry  — 


principle  that  military  training  and  habits  should  become  an  indispensable  part  of  the  edu 
cation  of  every  one  of  us." 
1  On  this  see  below,  p.  227. 


SURVIVALS  AND  REVIVALS  153 

this  became  more  unified;  allegory,  symbolism,  and  history  were  not  scattered 
broadcast  through  the  procession,  but  were  related  to  a  central  idea.  This 
brought  the  show  farther  from  the  carnival,  and  made  it  a  higher  form  of  artistic 
expression —  the  Shylock  and  Portia  at  the  feet  of  Garrick,  in  1909,  have  some 
raison  d'etre,  while  the  Shylock  and  Portia  of  1893  —  marching  with  Robin 
Hood  and  Buffalo  Bill — have  not.  In  studying  this  festival,  we  see  clearly 
where  the  distinction  between  the  pageant  of  the  street  and  the  carnival  pro 
cession  lies;  not  in  the  material,  but  in  the  purpose.  At  the  end  of  the  seven 
teenth  century,  the  Lord  Mayor's  Show  tended  toward  the  carnival ;  this  Fair- 
holt  observed,  when  he  remarked:  "  The  excessive  absurdity  of  surrounding  a 
Christian  saint  with  a  heterogeneous  mass  of  attendants,  composed  of  livery 
servants,  Roman  lictors,  halberdiers,  and,  worse  than  all,  twenty  dancing  satyrs 
with  tambourines,  seems  never  to  have  struck  the  mind  of  the  last  of  the  city 
laureates."  l  That  this  was  not  pure  carnival  is  due  to  the  relation  of  St.  Martin 
and  the  satyrs  to  the  Vintners'  Company,  to  which  belonged  the  mayor,  Sir 
Samuel  Dashwood. 

THE  KNUTSFOKD  "  ROYAL  "  MAY-DAY  FESTIVITIES 

From  this  festival  of  Lichfield,  let  us  turn  to  the  May-day  celebration  at 
Knutsford.  As  this  does  not  date  further  back  than  1864,  it  is  rather  a  revival 
of  older  folk-custom  than  a  survival,  and  need  not  detain  ug  long.  Organized  by 
the  Misses  Clowes  and  Mr.  G.  W.  Clarke,  it  later  received  the  "  hearty  support 
of  the  late  respected  Vicar  of  the  Parish  ";  in  1887,  Edward  VII  and  Queen 
Alexandra,  then  Prince  and  Princess  of  Wales,  witnessed  the  celebration,  and 
subsequently  gave  the  Committee  the  right  to  use  the  prefix  "  Royal  "  in  con 
nection  with  it.2  This  festival  is  more  closely  connected  with  folk-revels  than 
with  pageantry,  though  it  has  pageantic  features.  In  1913,  the  procession  in 
cluded  various  tableaux  on  lorries,  escorted  by  mounted  boys  and  girls  in  cos 
tume;  there  was  a  Jack-in-the-Green,3  and  morris  dancers  danced  through  the 
streets  with  the  procession.  The  characters  suggested  a  peripatetic  fancy-dress 
ball  rather  than  a  pageant;  there  were  Flower  Girls,  Gypsies,  an  "Ancient 
Lady  in  a  Sedan,"  King  Canute,4  Scotch  Highlanders,  the  four  Seasons,  Italian 
nobles,  Night,  Spanish  and  Swiss  girls,  John  Bull,  Britannia,  foresters,  etc.,  in 
line.  "  Special  Canadian  Tableaux  "  included  a  "  Trooper  of  the  North  West 
Mounted  Police  on  Pony,"  "  Miss  Canada,"  "  The  Farmer,"  "  The  Lumber 
man,"  "The  Miner,"  "The  Fisherman"  and  "The  Trapper";  on  another 
lorry  followed  India,  Australia,  Africa,  America,  Yankees,  Japanese  girls,  a 
Turk,  a  group  of  Courtiers,  three  Old  English  Officers,  and  Infant  Hornpipe 

1  Remarks  on  the  1702  Show  —  Fairholt,  pt.  i,  p.  119,  n. 

2  Official  program  for  1913,  p.  3.    Cf.  the  Knutsford  Advertiser  for  i  May,  1914,  p.  7. 

3  Cf.  above,  vol.  i,  p.  70. 

4  Knutsford  is  "  King  Canute's  ford." 


154  ENGLISH  PAGEANTRY 

Dancers.  Then  came  sailor  girls  with  "  ^race  Darling  and  her  Father  "; *  and 
following  them  came  cricketers,  middies,  admiral  and  sailors  and  a  tableau  "  Alice 
in  Wonderland."  Maid  Marian,  Robin  Hood,  Will  Scarlet,  and  foresters; 
heralds,  with  a  Lord  Chamberlain  and  Judge;  pages,  maids  of  honour,  court 
officials  and  boy  scouts  escorted  the  "  royal  "  May  Queen  and  her  attendants. 

When  the  procession  arrived  at  the  Heath,  various  dances  were  performed, 
after  which  the  public  was  allowed  to  enter  the  ring  and  dance.2 

Although  held  on  Whitmonday,  the  Milton  procession  of  decorated  cars  and 
children  seems  to  be  a  revival  of  May-day  festivities.  The  twenty-seventh 
annual  "  fete  "  of  the  Milton  Amalgamated  Friendly  Societies  is  illustrated,  and 
briefly  described,  in  the  Staffordshire  Weekly  Sentinel  for  Saturday,  6  June, 
1914.  Various  local  firms  provided  "  decorated  turnouts";  a  May  Queen  was 
crowned,  and  the  whole  affair  seems  to  have  resembled  the  more  famous  May 
day  celebration  at  Knutsford,  which  may  be  taken  as  the  type  of  this  kind  of 
pageantry. 

The  fiftieth  anniversary  of  this  celebration  was  observed  in  1914,  and  the 
May  Queen  of  fifty  years  before  rode  in  a  carriage  with  her  husband  in  the  pro 
cession.  A  boy  in  armor  represented  "the  Cheshire  Champion";  "Miss 
Matty's  tea-party  "  recalled  Cranford; 3  the  rest  of  the  procession  was  much 
like  that  of  the  preceding  year.4  At  the  end  of  the  formal  dancing  on  the  Heath 
-  which,  of  course,  included  the  Maypole  dance  —  the  townsfolk  danced  in 
formally  till  dusk. 


1  In  1914,  two  children  sat  in  a  lorry  on  which  was  a  boat.    This  tableau,  it  will  be  recalled, 
was  not  unknown  in  the  Lord  Mayor's  Show  and  appeared  at  Lichfield  in  1904. 

2  For  details  see  the  Official  Program  for  1913.    Much  the  same  procedure  was  observed 
on  May  Day,  1914,  when  I  witnessed  the  procession;  most  of  the  participants  were  children, 
and  the  parade  through  the  town  was  but  the  prelude  to  the  more  important  part  of  the  cele 
bration  —  the  dances  on  the  Heath.    (Cf.  above,  vol.  i,  p.  10.) 

3  Knutsford  is  the  Cranford  of  Mrs.  Gaskell's  novel. 

4  The  Knutsford  Advertiser  for  i  May,  1914,  p.  7,  gives  a  short  history  of  the  celebration, 
from  which  I  give  extracts.    "...  Pageantry  in  any  form  has  an  attraction  for  English  folk, 
which  is  evidenced  by  the  fact  that  for  fifty  years  people  have  watched  with  interest  the  re 
production  of  the  programme  submitted  at  the  festival  for  which  Knutsford  is  so  justly 
famous.    This  festival  holds  undisputed  the  position  of  being  the  most  picturesque  and  fasci 
nating  of  its  kind,  for  its  fame  exceeding  the  limits  of  this  country  has  reached  the  Colonies 
with  the  result  that  a  tableau  representing  Canada  was  introduced  two  years  ago  .  .  . 

"  The  May-day  Festival  at  the  beginning  was  entirely  a  Church  Schools  organisation  .  .  ." 
It  "  was  advertised  only  by  blind  '  Moses,'  the  old  bell  man,  who  went  round  the  town  in  his 
uniform  and  tall  hat,  while  he  also  requested  people  to  sand  the  streets  .  .  . 

"  Records  from  the  year  1870  reveal  many  interesting  facts.  The  present  run  of  the  festi 
val  commenced  in  1864,  but  for  six  years  after  that  date  no  records  were  kept.  It  is  extremely 
probable  that  the  first  of  May  was  celebrated  prior  to  1864,  but  of  that  fact  nothing  authentic 
is  known.  At  that  time  there  was  nothing  to  call  forth  the  admiration  it  produces  today,  as 
its  inception,  like  that  of  other  institutions,  was  launched  in  quite  an  insignificant  manner, 


8 

V. 


SURVIVALS  AND  REVIVALS  155 

SURVIVALS  OF  MAY-DAY  CUSTOMS;   "  A  LABOUR  '  KNIGHT  '  " 

In  some  cities,  children  —  many  of  whom  have  blackened  faces  —  set  up 
Maypoles  in  the  streets,  and,  dressed  in  old  bits  of  lace  and  paper  crowns,  dance 
about  them.  At  other  towns,  processions  of  decorated  wagons  take  place  — 
usually  without  the  allegorical  occupants  which  give  meaning  to  pageantry. 
In  connection  with  such  figures  as  the  armed  men  of  the  London  shows,  the 
knights  of  the  Lichfield  "  Bower,"  and  the  Knutsford  champion,  it  is  interesting 
to  note  that  the  "  first  May-day  demonstration  of  Labourites  in  Warrington 
was  held  on  Saturday  [2  May,  1914]  ...  A  long  procession  with  a  couple  of 
bands  and  numerous  banners,  paraded  the  town  before  the  meetings,  and  par 
ticular  attention  was  drawn  by  a  '  knight  in  shining  armour '  mounted  on  a 
fine  steed.  He  was  a  representative  of  the  Sheet  Metal  Workers'  Union  .  .  .m 


With  the  exception  of  the  Jack-in-the-Green,  who  appears  in  the  Knutsford 
May-day  procession,  St.  Christopher  of  Salisbury  is  probably  the  only  folk- 
figure  in  active  service.  I  have  already  referred  to  his  appearance  in  1911  ;2 
since  1760  he  has  marched  on  these  occasions: 

1 760.  Accession  and  Proclamation  of  George  III. 

1763.  Thanksgiving  Day  for  Peace. 

1784.  Peace  Festival  at  the  Termination  of  the  American  War. 

1798.  Thanksgiving  for  the  Recovery  of  George  III. 

1809.  Jubilee  of  George  III. 

1832.  "  Reform  "  Festival. 

1838.  Coronation  of  Queen  Victoria. 

1842.  Baptism  of  the  Prince  of  Wales  (Edward  VII.). 


the  school  children  carrying  out  the  proceedings  in  a  degree  that  aroused  merely  local  in 
terest  ..." 

An  early  procession  is  thus  described  in  the  columns  of  the  Advertiser:  "  The  procession 
started  from  the  boys'  school  at  the  bottom  of  Adams  Hill,  preceded  by  the  St.  Cross  Drum 
and  Fife  Band  and  the  Crown  Bearer  and  Sceptre  Bearer.  The  Queen  rode  in  a  carriage  .  .  . 
with  an  outrider  arrayed  in  livery  ...  At  the  tail-end  of  the  procession  was  a  milkmaid 
with  a  cow  decorated  with  ribbons  .  .  .  The  Queen's  carriage  was  immediately  followed  by  a 
Knight  hi  ancient  armour  on  horseback  ...  In  those  days,  the  Crown-bearer  and  Sceptre- 
bearer  did  not  wear  any  special  dress,  but  appeared  in  the  best  mufti.  The  Crown  was  only 
of  cardboard  covered  with  gold  leaf  . . .  Some  of  the  costumes  were  lent  by  a  travelling  theatre 
proprietor  named  Snape,  who  supervised  the  painting  of  the  faces  with  the  exception  of  the 
sweep,  who  had  to  black  himself  ..." 

1  Liverpool  Daily  Post  and  Mercury  for  4  May,  1914,  p.  8,  col.  5. 

2  See  above,  vol.  i,  p.  56,  n.  3 ;  my  authority  for  the  information  here  given  is  Mr.  Frank 
Stevens's  paper,  already  mentioned,  in  the  Salisbury  Festival  Book,  p.  64,  —  from  "  official 
records." 


156  ENGLISH  PAGEANTRY 

1856.  Peace  Festival  at  the  end  of  the  Crimean  War. 

1863.  Prince  of  Wales'  Marriage. 

1872.  Visit  of  the  Prince  of  Wales. 

1887.  Jubilee  of  Queen  Victoria. 

1892.  Marriage  of  the  Duke  of  York  (George  V.). 

1897.  Diamond  Jubilee  of  Queen  Victoria. 

1902.  Coronation  of  Edward  VII. 

1911.  Coronation  of  George  V. 

When  not  in  use,  St.  Christopher  is  kept  in  the  Salisbury  Museum.  Mr. 
Stevens  notes,  in  the  article  cited,  that  "  Miss  Child  (The  Spinster  in  The  Close] 
gives  an  excellent  portrait  of  the  Giant  and  his  attendants  as  they  would  have 
appeared  in  1842  .  .  .  The  Giant  appears  to  be  smoking  a  pipe,  placed  between 
his  lips  doubtless  by  one  of  his  '  merrie  men.'  " 1  This  trace  of  the  old  Mid 
summer  Show  is  worth  recording  among  the  survivals  of  folk-pageantry.  Nor, 
on  the  Continent,2  is  all  trace  of  the  old  folk-figures  gone. 

"  PACK  MONDAY  "  FAIR  IN  DORSET 

Mr.  H.  V.  W.  Temperley,  of  Peterhouse,  Cambridge,  tells  me  that  when  he 
was  a  boy  at  Sherborne  School,  there  was  a  great  procession  on  the  night  of 
"  Pack  Monday  fair,"  which  included  cars  of  the  different  crafts,  and  a  bogus 
clergyman  who  carried  a  bogus  Bible.3  Interest  in  this  procession  is  waning; 
it  may  have  been  extinguished  by  the  new  pageantry,  which  came  into  being 
at  Sherborne  in  1905. 

OTHER  SUGGESTIONS  or  FOLK-PAGEANTRY 

We  have  already  referred  to  the  flogging  of  Judas  Iscariot  by  foreign  sailors 
at  British  ports  4  —  a  ceremony  which  keeps  the  religious  flavor  of  its  origin, 
and  has  apparently  been  widespread.  In  Two  Years  Before  the  Mast?  Mr.  Dana 
refers  to  this  custom,  which,  if  not  strictly  "  folk,"  is  closely  related  to  such 


1  St.  Christopher  is  pictured,  above,  vol.  i,  opp.  p.  62,  and  in  the  Festival  Book,  opp.  pp.  59, 
and  64. 

2  See  L1  Illustration  for  July,  1846,  pp.  279!,  for  a  pictured  account  of  Les  Jeux  de  la 
Tarasque  at  Tarascon.    I  have  already  referred  to  the  giants  in  the  war-swept  area  of  northern 
France  and  Flanders;  few  of  them  are  probably  still  in  existence.  (Cf.  above,  vol.  i,  p.  55,  n.  2.) 

3  On  "Pack-Monday  fair,"  see  Ditchfield,  p.  245;   this  celebration  dates  from  the  time 
that  the  builders  of  the  Abbey  packed  up  their  tools,  having  finished  their  work.  The  "  clergy 
man  "  suggests  the  Boy  Bishop,  and  recalls  the  anti-Popish  feeling  of  Elizabethan  days  — 
but  he  may  have  been  a  later  addition. 

4  Cf.  above,  vol.  i,  p.  16. 

6  (New  York,  1841,)  p.  159:  "  It  was  now  the  close  of  Lent,  and  on  Good  Friday  she  had 
all  her  yards  a'-cock-bill,  which  is  customary  among  Catholic  vessels.  Some  also  have  an 
effigy  of  Judas,  which  the  crew  amuse  themselves  with  keel-hauling  and  hanging  by  the 
neck  from  the  yard-arms." 


SURVIVALS  AND  REVIVALS  157 

pageantry.  Similarly,  the  ceremony  of  Crossing  the  Line  *  which  includes  the 
figure  of  Neptune,  preserves  a  tradition,  not  without  an  element  of  pageantry. 
That  it  is  still  very  much  alive,  the  following  description  will  testify:2 

Four  days  later  we  crossed  the  Equator,  and  here  the  time-honoured  ceremony  of  '  cross 
ing  the  line  '  took  place.  All  who  have  not  been  over  the  line  before,  officers  and  men  alike, 
have  to  be  ducked  and  submitted  to  various  other  indignities  before  they  can  be  considered 
'  freemen  '  of  the  Sea  King's  domain. 

On  the  previous  night  officers  and  men  impersonating  Neptune  and  his  Court  had  paraded 
the  ship  with  an  impromptu  band,  and  in  the  morning  a  huge  canvas  bath  was  rigged  up  on 
the  fo'c'sle,  with  a  rude  throne  for  Neptune  at  one  end.  After  lunch  the  fun  began.  The 
bears  were  already  splashing  about  in  the  bath  ready  to  duck  the  neophytes  when  Neptune 
and  his  staff  had  finished  with  them.  One  of  our  lieutenants  was  the  first  victim.  The  Sea 
King,  gorgeously  arrayed  in  red  and  yellow  bunting,  with  a  cardboard  crown  set  on  his  hempen 
wig,  asks  each  in  turn  if  he  has  ever  crossed  the  line  before,  but  no  sooner  does  the  unfortunate 
open  his  mouth  to  reply,  than  a  large  brush  dripping  with  whitewash  is  slapped  in  his  face! 
He  is  then  liberally  whitewashed  all  over  by  Neptune's  merry  men  and  tipped  over  back 
wards  into  the  bath. 

Here  the  bears  seize  upon  him  and  pass  him  along  to  the  other  end,  each  one  ducking  him 
as  he  goes,  after  which  his  ordeal  is  finished,  and  he  can  watch  his  messmates  being  served 
in  the  same  way. 

Our  Gunnery  Lieutenant  at  first  hid,  but  he  was  soon  routed  out  and  carried,  kicking  and 
struggling,  before  the  tribunal.  He  had  reason  to  regret  his  attempt  to  shirk,  for  by  this  time 
the  whitewash  had  run  out,  so  he  was  treated  to  a  plastering  of  black  paint,  sand,  and  water 
instead;  and,  further,  given  a  spoonful  of  '  medicine  '  made  up  of  mustard,  pepper,  salt,  oil, 
and  sea-water  all  mixed  together,  after  which  he  was  duly  tipped  backwards  into  the  bath! 

The  performance  lasted  until  4  o'clock,  when  we  all  went  below,  changed,  and  had  tea.3 


1  Referred  to,  above,  vol.  i,  p.  9  f. 

2  From  Dartmouth  to  the  Dardanelles:    A  Midshipman's  Log,  (London,  1916),  pp.  98  f. 
We  may  note  that  Dana,  who  crossed  the  Line  in  1834,  escaped  the  "  initiation  ":   cf.  Two 
Years  Before  the  Mast,  (New  York,  1841),  p.  26:    "  Wednesday,  October  ist.    Crossed  the 
equator  in  long.  24°  24'  W.    I  now,  for  the  first  time,  felt  at  liberty,  according  to  the  old  usage, 
to  call  myself  a  son  of  Neptune,  and  was  very  glad  to  be  able  to  claim  the  title  without  the 
disagreeable  initiation  which  so  many  have  to  go  through.    After  once  crossing  the  line  you 
can  never  be  subjected  to  the  process,  but  are  considered  as  a  son  of  Neptune,  with  full  powers 
to  play  tricks  upon  others.    This  ancient  custom  is  now  seldom  allowed,  unless  there  are  pas 
sengers  on  board,  in  which  case  there  is  always  a  good  deal  of  sport." 

3  The  mother  of  the  midshipman-author,  who  edited  his  log  book,  notes:  "  Maybe  sober- 
minded  people  will  think  all  this  very  silly  —  childish  —  almost  improper,  in  view  of  the  seri 
ous  business  on  which  they  were  engaged.    But  let  it  be  remembered  that,  in  the  words  of 
Kipling:   '  The  Navy  is  very  old  and  very  wise.'    She  cherishes  her  traditions,  and  knows 
well  that  the  observance  of  an  old  ceremony  in  which  officers  and  men  take  part  without  dis 
tinction  of  class  tends  to  foster  that  immortal  spirit  of  comradeship  which  is  one  of  the  most 
valuable  assets  of  the  service,  and  by  no  means  the  least  important  secret  of  our  sea-power. 
For  the  rest,  time  enough  to  think  of  War  when  the  call  to  '  action '  has  been  sounded  off. 
They  work  best  who  know  how  to  play." 


158  ENGLISH  PAGEANTRY 

PRESENT-DAY  MUMMING  AT  BROOKLYN 

A  sporadical  manifestation  of  what  may  be  a  survival  of  more  elaborate 
holiday  pageantry  is  found  at  Brooklyn  (New  York)  on  Thanksgiving  Day.1 
This,  like  the  mumming  found  on  Hallowe'en  and  in  connection  with  the  Guy 
Fawkes'  celebrations,  is  confined  to  children,  dressed  up  in  costume,  whose  buf 
foonery  and  hilarity  find  expression  in  their  progress  from  house  to  house  —  rarely 
singly,  often  in  groups  of  ten  or  twelve.  They  invade  front  lawns,  court-yards, 
or  hallways,  and  give  a  "  performance,"  which  is  little  more  than  a  succession  of 
antics,  popular  songs,  and  "  movie  "  representations,  to  which  each  one  in  the 
group  contributes  his  bit.  The  program  ended,  each  collects  what  he  can  from 
the  spectators,  in  the  way  of  pennies,  or  cake,  fruit,  and  other  sweets  (the  edibles 
are  more  in  demand  than  the  money,  and  are  often  put  into  the  basket,  which  is 
part  of  the  holiday  garb) ;  after  which,  the  group  moves  on  to  fresh  fields  and 
pastures  new. 

Often  the  girls  will  give  exhibitions  of  folk-dancing,  learned  in  the  public 
school  or  at  the  recreation  center:  frequently  Russian  peasant  dances,  the  High 
land  fling,  some  Irish  jig,  or  Swedish  dance  is  skilfully  interpreted  on  the  city 
pavement  by  youngsters  often  arrayed  in  a  manner  at  least  suggesting  the  na 
tional  costume  of  the  country  in  question.  A  convincing  effect  is  often  obtained 
by  merely  tucking  up  a  skirt  or  rolling  stockings  down  below  the  knee  and  cock 
ing  the  hat  on  one  side;  the  illusion  is  there,  if  not  the  detail. 

The  boys  usually  prefer  to  dress  up  as  "  movie  "  heroes,  and  one  often  sees 
Charlie  Chaplins  and  Bill  Harts  abroad;  but  pirates,  Indians,  cowboys,  and 
colored  comedians,  are  not  neglected.  Of  historical  periods,  the  Revolutionary 
is  perhaps  the  favorite;  the  blue  and  buff  Continental  uniform  is  somehow 
achieved  —  topped  by  a  cocked  hat,  it  is  at  least  recognizable.  The  bouffante 
skirt  of  the  period,  with  lace  kerchief  and  cap,  is  an  attractive  costume  sometimes 
encountered.  Present-day  uniforms,  Red  Cross  costumes,  the  dress  of  the  boy- 
scouts,  have  been  in  evidence  for  the  past  year  or  two;  but  on  the  whole,  the 
hybrid  costumes  are  commoner,  and  the  attempt  to  approximate  historical 
costumes  is  rare. 

In  many  parts  of  America,  children  dress  up  on  Hallowe'en  and  visit  the 
neighbors,  sometimes  playing  tricks,  such  as  carrying  off  gates,  turning  signs 
around,  changing  house-numbers,  or  exchanging  various  articles —  as  witches, 
in  the  past,  were  supposed  to  play  roguish,  if  not  malicious,  tricks.  Perhaps 
such  mumming  as  that  at  Thanksgiving  in  Brooklyn,  was  transferred  from 
Hallowe'en;  though  it  does  not  include  any  of  the  tricks  sometimes  found  else 
where.  Professor  Paul  R.  Lieder,  whose  boyhood  was  spent  in  Brooklyn,  haz- 


1  I  am  indebted  to  Miss  Helen  L.  Lieder,  of  Brooklyn,  for  the  following  information.    Her 
account  indicates  that  what  goes  on  today  is  rather  mumming  than  pageantry. 


SURVIVALS  AND  REVIVALS  159 

ards  the  suggestion  that  if  this  mumming  is  not  a  legacy  from  the  early  Dutch 
settlers,  it  has  come  from  New  England.  I  may  add  that  I  have  seen  it  on  Hal 
lowe'en  in  Bloomington,  Indiana. 

REVELS  AT  GRIMSTON 

Miss  Edith  Milner,  of  York,  has  told  me  of  May-day  revivals  before  1867,  in 
which  she  had  taken  part ;  similar  to  these  was  an  outdoor  fete,  given  by  Lord 
Wantage  in  August,  1884,  which  inspired  her  to  arrange  at  Grimston,  Yorkshire, 
a  pageantic  festival  early  in  September  of  that  year.  On  this  occasion  the  "  Har 
vest  wain  "  was  covered  with  children;  the  Harvest  Queen,  Robin  Hood,  and 
other  characters  appeared;  old  English  sports,  and  the  Hobby  Horse  of  folk- 
custom  were  revived.  These  revels  are  of  importance  because  the  Ripon  pageant 
of  1886  owes  its  existence  to  them.  And  Ripon  deserves  detailed  mention. 

We  see  in  these  folk-festivals  revived,  the  "  raw  material  "  of  pageantry  - 
or,  to  change  the  figure,  the  "  unborn  soul  "  of  the  pageant.  There  is  no  central 
plan  to  give  the  allegory  or  history  a  meaning;  most  of  these  celebrations  tend 
rather  to  the  carnival,  which  is  pageantry  without  a  central  idea  to  give  it  unity. 
A  tendency  toward  pageantry  is  seen  in  the  celebration  of  the  millenary  anni 
versary  of  Ripon  Cathedral  in  1886;  but  it  is  worthy  of  note  that  the  director  of 
this  festival  is  referred  to  as  "  master  of  the  revels." 


§  2.     "  OCCASIONAL  "  PAGEANTRY 

THE  RIPON  MILLENARY  CELEBRATION  OF  1886 

Because  it  is  connected  with  the  Grimston  "  revels,"  we  may  consider  the 
Ripon  Millenary  celebration  here,  rather  than  defer  it  to  its  chronological  place 
in  this  section.  This  show  took  place  in  August,  I886.1  The  town  was  hung  with 
flags,  and  there  were  triumphal  arches,  flower-festooned;  a  procession  of  clergy, 
soldiers,  magistrates,  and  civic  authorities  opened  the  festivities;  Mr.  Darcy 
Ferris,  "  master  of  the  revels  "  marched  with  his  committees.  After  service  in 
the  Cathedral,  there  was  a  luncheon  for  more  than  a  thousand  guests;  in  the 
evening,  the  "  revels  "  began — Mr.  Ferris,  in  Elizabethan  dress,  announced 
them  from  the  market-cross. 

PAGEANTIC  REVELS 

The  proclamation  having  been  read,  the  procession  was  formed  in  the  market  place.  First 
came  a  group  of  torchbearers,  then  a  drum-and-fife  band,  then  a  number  of  grotesque  boy 
dogs,  followed  by  a  dancing  band  of  satyrs  and  ogres.  Behind  these  was  a  hobby-horse  of 
the  most  approved  and  absurd  appearance,  and  then,  after  more  torchbearers  and  a  huge 
symbolical  banner,  came  the  car  of  the  Brewers'  Guild.  Around  this  were  grouped  a  number 

1  Detailed  accounts  of  this  event  may  be  found  in  the  London  Times  of  26  August,  1886, 
p.  4,  cols.  4  and  5;  ibid.,  for  27  August,  p.  8,  col.  i;  for  28  August,  p.  10,  col.  i. 


160  ENGLISH  PAGEANTRY 

of  stalwart  fellows  in  appropriate  red  caps  and  aprons,  while  on  the  car  were  two  huge  casks, 
garlanded  with  evergreens.  Following  the  brewers  were  the  Oddfellows'  lodges,  marching 
four  deep;  then,  after  another  banner,  the  Millers'  car  and  the  order  of  Foresters,  then  more 
banners,  preceding  in  turn  the  Clothworkers'  car  and  the  Druids'  Order.  The  Saddletree 
makers'  car  came  next,  and  it  is  worthy  of  note  that  Ripon  saddletrees  have  been  as  famous 
as  Ripon  spurs.  At  this  point  a  somewhat  more  modern  feature  was  introduced  in  the  shape 
of  the  town  fire  engine,  which  broke  the  mediaeval  character  of  the  procession.  Following 
close  on  the  fire  engine,  however,  was  the  banner  of  St.  Wilfred,  followed  by  St.  Wilfred 
himself  on  horseback,  supported  by  two  deacons  and  followed  by  six  monks.  Next  came  an 
old  horn-blower  and  attendants  in  chariots,  and  a  floral  banner.  The  procession  was  closed 
by  the  master  of  the  revels,  his  heralds,  chamberlains  and  pages,  the  city  banner,  constables, 
bellman  and  beadle,  and  the  mayor  in  a  carriage  with  the  chain  and  mace  bearer.  By  the 
time  the  procession  had  formed,  night  had  fallen,  and  the  town  was  then  lit  up  in  all  directions 
by  most  brilliant  and  decorative  arrangements  of  colored  lamps.  The  facade  of  the  town- 
hall  was  brilliantly  illuminated,  and  the  triumphal  arch  at  the  head  of  Kirkgate  was  most 
picturesquely  hung  with  Chinese  lanterns.  .  .  The  lurid  glow  of  the  torches,  the  bright  gleams 
of  the  coloured  lamps,  and  the  fitful  shadows  cast  by  the  curling  smoke  on  the  faces  and  dresses 
of  the  actors  in  the  pageant,  served  to  make  up  such  a  picture  of  mediaeval  manners  and  cus 
toms,  as  set  forth  by  the  chroniclers,  as  to  induce  for  a  moment  the  belief  that  the  veritable 
mummers  had  come  to  life  again,  and  were  disporting  themselves  at  Ripon  at  the  close  of  the 
nineteenth  century.1 

This  evening's  celebration  is  chiefly  interesting  for  us  in  that  it  shows  a  large 
part  of  the  community  participating.  Many  of  the  characters  appeared  again 
in  the  Ripon  Civic  Pageant,  which  had  a  strong  historical  flavor.  As  this  is 
much  nearer  our  modern  pageantry,  it  may  be  described  in  detail.2 

THE  RIPON  Civic  PAGEANT  —  AN  HISTORICAL  PROCESSION  INCLUDING 
"  WILD  MEN,"  ALLEGORY  AND  SYMBOLISM 

The  procession  included 

"  wild  men,  marking  the  first  period  of  known  history,  and  looking  wonderfully  fierce,  as, 
clad  in  skins,  their  limbs  covered  with  hair,  and  their  faces  decked  with  woad,  they  strode 
along  brandishing  their  clubs."  Hobby-horse  and  jester  followed;  and  the  introductory 
part  of  the  procession  was  brought  to  a  close  by  a  company  of  halberdiers  and  the  master  of 
the  revels  with  his  attendants. 

The  "  first  chapter  was  the  Druidical  period,"  and  these  priests  came  next,  with  foliage- 
crowned  bards,  carrying  golden  lyres.  Arch-Druid,  Vice-Arch  Druid  and  Royal  Arch-Druid 
with  golden  sickles  and  high  golden  head-dresses  followed.  Then  came  the  Roman  period  — 
Hadrian  and  his  empress  in  a  Roman  chariot,  followed  by  Roman  soldiers;  then  the  Viking 
period  —  represented  by  a  huge  Viking  boat,  around  which  hung  the  shields  of  the  crew, 
who  sat  or  stood  within,  a  shaggy  lot  of  Norsemen.  The  Abbot  of  Melrose,  with  a  model  of 
the  Monastery,  led  the  Saxon  period;  he  was  followed  by  Prince  Alefrid,  behind  whose  at 
tendants  rode  Queen  Edelfleda,  whose  saddle  was  a  tiger's  skin.  After  her  train  —  which 
included  pages,  nobles  and  Saxon  ladies  —  came  "  a  car  bearing  the  ancient  hornblower, 


1  The  London  Times  for  26  August,  1886,  p.  4. 

2  The  Times  for  28  August,  1886,  p.  10. 


SURVIVALS  AND  REVIVALS  161 

attended  by  the  executioner  and  gaoler,  in  type  of  the  ancient  rights  of  sanctuary  and  mort 
main.  It  should  be  mentioned  that  the  character  of  the  hornblower  was  taken  by  an  old 
man  of  ninety,  who  has  blown  the  horn  nightly  in  the  market  place  of  Ripon  for  the  last 
seventy  years.  Following  this  car  came  that  of  St.  Wilfrid,"  whereon  was  seated  in  a  throne, 
supported  by  spears,  King  Egfried,  attended  by  his  brother  Elwyn.  Saxon  soldiers  accom 
panied  the  car  of  King  Alfred,  wherein  sat  Elswitha  his  Queen;  then  came  Athelstan  and 
Archbishop  Odo;  and  the  Normans  were  represented  by  Henry  IV  and  his  Queen,  with 
Norman  nobles,  "  who  visited  Ripon  to  escape  the  plague  which  raged  at  that  time  in  London." 

The  prosperity  of  the  town  at  this  period  was  symbolized  by  a  harvest  group,  and  a  car 
bearing  a  Queen  of  the  Harvest  with  attendants  in  classic  costumes. 

Then  came  the  first  two  burgesses  of  Ripon  summoned  for  the  Parliament  of  1295.  Robin 
Hood  and  his  men  followed,  and  behind  them  came  Hugh  Ripley,  last  wakeman  of  Ripon, 
with  his  lady.  Then  "  cars  of  the  city  guilds,  with  operatives  at  work  "  preceded  the  heralds 
and  banners  of  the  knights  of  the  tournament.1  James  I  and  his  Queen  accepting  spurs  from 
the  Spurriers'  Guild  of  Ripon,  when  he  was  on  his  way  to  his  coronation  at  London,  and 
"  numerous  other  events  in  the  history  of  the  ancient  city's  existence  were  also  represented 
in  succession."  Then  followed  the  allegorical  part  of  the  procession. 

This  included  the  wife  of  the  then  Mayor  of  Ripon  as  the  Genius  of  the  City,  with  Charity 
and  Loyalty  in  attendance.  Maypole  dancers,  a  Georgian  farmer,  with  his  wife  on  a  pillion, 
shepherds  and  shepherdesses,  sword  dancers,  and  the  civic  procession  of  mayor  and  municipal 
dignitaries  ended  a  mile-long  procession.  It  marched  to  the  ruins  of  Fountains  Abbey,  and 
filed  before  the  crowd  assembled  there,  later  joining  them  to  watch  the  play  of  Robin  Hood 
and  the  Curtal  Friar,2  given  on  the  traditional  site  of  the  famous  event  it  recalled.3 

In  the  afternoon  there  was  tilting  at  the  ring  and  quintain;  and  a  tourna 
ment  between  armed  knights  on  "  armoured  hobbies  "  took  place,  "  much 
merriment  being  caused  by  the  play  made  by  the  knights  in  their  life-like  horse 
manship  of  their  hobbies.  With  the  ancient  Yorkshire  sword  dance,  the  enter 
tainment  for  the  day  came  to  an  end."  4 

Although  this  procession  included  figures  from  the  revel,  it  has  many  char 
acteristics  of  later  as  well  as  earlier  pageantry.  The  cars  with  their  allegory 
and  symbolism;  the  historical  characters,  from  the  "  wild  man,"  who  represents 
the  Early  Briton,  to  the  Georgian  farmer;  the  care  with  which  the  site  for  the 


1  See  below,  and  p.  185. 

2  Written  by  Augustin  Dawtrey;   Mark  Landon,  "  who  is  justly  celebrated  for  the  part 
he  has  taken  in  previous  revels  and  pageants,  was  a  most  admirable  friar,"  and  "  the  whole 
representation  was  eminently  in  keeping  with  the  surroundings  both  of  scenery  and  of  the 
pageant  grouped  around  the  rustic  stage."    (The  Times,  loc.  tit.) 

3  Cf.  The  Times  for  27  August,  1886,  p.  8,  col.  i:    *'....  The  site  selected  for  the  represen 
tation  of  the  play  of  Robin  Hood  and  the  Curtal  Friar  is  immediately  adjacent  to  the  beautiful 
ruins  of  Fountains  Abbey,  and  is  supposed  to  be  the  identical  spot  on  the  banks  of  the  Skell 
described  in  the  ballad  where  the  outlaw  had  his  memorable  encounter  with  the  Curtal  Friar, 
and  where  the  two  fought  their  long  fight  from  ten  in  the  morning  till  four  in  the  afternoon." 
It  was  given  before  a  crowd  of  7,000  people  who  swarmed  over  the  arena  and  the  hillside 
without.    (The  Times  for  28  August,  p.  10.) 

4  The  Times  for  28  August,  1886,  loc.  cit. 


1 62  ENGLISH  PAGEANTRY 

Robin  Hood  play  was  chosen;  the  march  before  the  crowd  gathered  in  the  open- 
air  arena  —  even  the  preliminary  service  in  the  Cathedral  —  all  these  show  it 
to  be  half-way  between  the  older  and  newer  pageantry,  combining  features  of 
both.  It  is  interesting  to  see  a  "  folk-play  "  revived,  with  Robin  Hood  as  one 
of  the  characters;  for  the  older  folk-play,  or  sword  dance,  is  rarely  connected 
with  a  pageantic  procession.1 

THE  PEACE  CELEBRATION  OF  1814 

Fireworks,  "  allegorical  transparent  Paintings,"  and  allegorical  statues 
formed  part  of  the  Peace  Jubilee  at  London  in  i8i4.2  A  fleet  of  boats  on  the 
Serpentine  commemorated  the  Battle  of  the  Nile;3  a  "revolving  Temple  of 
Concord  "  in  Green  Park  was  illuminated,4  as  were  a  Chinese  bridge  and  pagoda. 
The  fleet  on  the  Serpentine  took  part  in  a  mock  fight 6  with  ships  flying  American 
colors,  which  were,  naturally,  defeated;  the  British  fleet  subsequently  attacked 
a  French  fleet,  and  again  proved  its  superiority.  Afterwards  some  of  the  ships 
were  burnt,  and  fireworks  concluded  the  show. 

This  exhibition  recalls  history,  and  reflects  a  national  pride  in  the  feats  of 
British  bravery.  In  this,  it  is  connected  with  modern  pageantry,  even  though 
the  history  recalled  is  recent.  The  allegorical  paintings  and  the  Temple  of 
Concord  echo  the  older  pageantry  of  the  seventeenth-century  Lord  Mayor's 
Show. 

The  celebration  of  peace  was  combined  with  welcomes  to  visiting  royal  per 
sonages,  which  seem  to  have  been  without  pageantry.6  Various  illuminations 
were  shown,  however,  and  some  of  these  transparencies  were  pageantic  —  for 
instance,  those  exhibited  by  H.  Watson,  at  35  Old  Bond  Street:  in  the  center, 
one  including  Astraea,  Britannia,  Prudence,  Victory,  Marlborough,  and  Welling 
ton;  on  the  right,  one  representing  The  Liberation  of  Spain,  and  on  the  left,  The 
Magnanimous  Emperor  of  all  the  Russians.1  Peace,  Britannia,  Ceres,  and  many 


1  Robin  Hood,  mounted  on  a  hobby  horse,  is  one  of  the  figures  in  the  Horn  Dance  at 
Abbot's  Bromley  —  one  of  the  few  surviving  folk-dances  of  the  present  day.     Cf .  Stone, 
Festivals,  Ceremonies,  and  Customs,  (1906),  p.  18. 

2  This  is  described  in  the  illustrated  pamphlet  recorded  in  the  Bibliography  under  the 
heading  Peace  Jubilee. 

3  See  the  pamphlet  referred  to,  plate  2. 

4  See  ibid.,  plate  4.    The  allegorical  paintings  described  ibid.,  pp.  49  f.  were  in  this  temple. 

5  Which  is  described,  ibid.,  pp.  54  f. 

6  I  have  mentioned  the  entry  of  Louis  XVIII  on  20  April,  1814,  above,  vol.  i,  p.  255;  cf. 
for  further  description,  England's  Triumph  (London,  1814;   in  Gh.),  p.  34  ff.    The  visit  of 
the  Emperor  of  Russia  and  the  King  of  Prussia,  who  arrived  at  Dover  on  6  June,  1814,  is 
described,  ibid.,  p.  89  f .    This  visit  of  the  Allied  Sovereigns  to  London,  is  "  B  "  in  scene  vii  of 
Part  III  of  the  London  Pageant  of  1911.    (See  The  Festival  of  Empire,  p.  132.) 

7  England's  Triumph,  p.  200.    Cf.  for  other  transparencies,  ibid.,  p.  197  f.    These  seem 
to  have  been  exhibited  on  9  June. 


SURVIVALS  AND  REVIVALS  163 

other  characters,  symbolical,  allegorical,  and  mythological,  whom  we  have  met 
in  pageantry,  were  represented  on  transparencies;  but  one  deserves  special 
mention : 

Among  the  various  curious  exhibitions  in  the  streets  during  the  late  illuminations,  there 
was  one  called  the  Agricultural  Car,  decorated  with  laurel,  &c. ;  it  displayed  most  of  the  im 
plements  used  in  husbandry.  The  reapers  were  within  the  car,  with  their  scythes  and  sickles; 
their  flags  were  supported  on  hay  rakes,  forks,  &c.  bearing  this  motto, '  We  have  cut  down  the 
Corn  Bill.'  We  never  remember  to  have  seen  so  much  joy  and  satisfaction  expressed  on  all 
sides  by  honest  John  Bull;  hats  and  handkerchiefs,  huzzas  and  bravoes,  gave  the  reapers  a 
fine  treat.1 

1907  —  LIVERPOOL'S  ANNIVERSARY  PAGEANT 

Although  given  two  years  after  Mr.  Parker's  Sherborne  Pageant,  the  pro 
cession  at  Liverpool  reminds  us  rather  of  the  Ripon  celebration,  or  of  such 
shows  as  that  of  Lichfield,  than  of  what  we  have  come  to  regard  as  a  "  pageant  " 
nowadays.  But  there  is  a  suggestion  of  the  Parkerian  work  in  the  underlying 
unity,  which  focussed  the  minds  of  the  spectators  on  the  city's  history. 

"  Liverpool  celebrated  its  seven  hundredth  birthday  with  a  pageant  which 
traced  the  development  of  the  town  from  the  year  1207  .  .  .  The  pageant  was 
rather  processional  than  dramatic,  and  its  method  differed  somewhat  from  that 
of  the  accepted  pageant  ritual.2  The  history  of  the  town  was  outlined  in  a  great 
procession  of  symbolic  cars  which  portrayed  the  commercial  rise  of  the  city, 
and  its  chief  political  events.  The  procession  closed  with  the  grand  car  of  Liver 
pool  which  bore  the  goddess  of  the  city,  supported  by  Britannia,  Erin,  and  char 
acters  symbolic  of  Science,  Art,  Music,  Trades  and  Industries."  3 

FOREIGN  PAGEANTIC  PROCESSIONS  OF  RECENT  YEARS 

I  shall  not  here  attempt  to  trace  any  connection  between  such  pageantic  pro 
cessions  as  that  of  Liverpool  and  those  on  the  Continent;  let  me  merely  call 
attention  to  a  couple  of  the  latter,  that  we  may  not  forget  that  such  "  occasional  " 
pageants  are  not  confined  to  England.  In  1910,  at  Amsterdam,  there  was  an 
"  historical  procession  "  in  honor  of  the  Princess  Juliana,  in  which  nine  hundred 
people  took  part,  and  which  included  seven  "chariots."  4  One  of  the  features 
of  the  millenary  celebration  at  Rouen,  in  June,  1911,  was  an  historical  procession, 

1  England's  Triumph,  p.  213.    If  these  figures  were  not  alive,  the  "  treat  "  was  not  relished. 

2  What  this  is,  we  shall  find  out  in  the  next  chapter.   Already,  two  years  after  Mr.  Parker's 
first  show,  there  was  "  an  accepted  pageant  ritual  "! 

3  Illits.  Lond.  News  for  10  August,  1907,  p.  191.    Besides  this  car  are  illustrated  here: 
"  The  Car  with  the  Episode  of  the  Surrender  of  Liverpool  ";  "  Early  Shipping  —  a  Vessel  of 
the  Sixteenth  Century";  "The  Banner  of  Liverpool";    "The  Car  Commemorating  the 
Slave  Trade,"  and  "  Early  Industries  —  the  Everstan  Windmill." 

4  Cf.  the  Illus.  Lond.  News  for  4  June,  1910,  p.  857.    One  feature  of  the  "  pageant  "  is 
pictured. 


1 64  ENGLISH  PAGEANTRY 

which  included  "  les  chars  des  arts  et  des  industries  normands  ";  the  "  drakar  " 
of  Rollo  and  his  vikings  was  reproduced,  among  other  things.1 

"  Un  grand  cortege  historique  .  .  .  reconstituant  1'histoire  de  la  Normandie, 
et  reunissant  1,200  personnages  dont  400  cavaliers,  a  defile  dans  les  rues  de  Rouen 
au  milieu  d'une  foule  enorme.  A  une  heure  de  Papres-midi,  Rollon,  figure  par 
un  negotiant  rouennais,  etait  arrive  par  le  Seine  dans  son  drakar.  Son  costume 
et  celui  des  guerriers  vikings  qui  1'entouraient  avaient  ete  compose  avec  une 
grande  exactitude  documentaire,"  says  the  writer  in  L>  Illustration.  The  pro 
cession  awoke  great  popular  enthusiasm. 

The  attempt  to  reproduce  Rollo 's  costume  with  exactness,  seems  to  point  to 
an  influence  from  the  newer  pageantry  of  England;  and  we  may  consider  that 
this  procession,  as  well  as  that  at  Liverpool  in  1907,  combines  the  spirit  of  the 
Parkerian  work  with  the  technique  of  the  older  pageants.  We  have  seen  at 
Ripon  in  1886,  and  shall  see  at  Boston  in  i88o,2  stirrings  of  the  newer  spirit  which 
finds  in  a  civic  anniversary  a  fit  occasion  for  recalling  the  glories  of  the  past.3 


§  3.    TRADE-PAGEANTRY 

Closely  connected  with  folk-pageantry,  are  various  trade  processions  with 
pageantic  features.  Examples  of  these  may  be  found  in  Preston,  Edinburgh, 
and  Coventry.  I  have  already  mentioned  the  guilda  mercatoria  of  Preston 4  which 
is  said  to  date  from  the  reign  of  Henry  II;  and  we  have  discussed  the  1802  and 
1822  processions.  In  1842,  there  were  "  floats  "  or  pageants  representing  various 
trades  when  the  "  Preston  Guild  "  was  celebrated.5 

The  Preston  "  Guild  "  was  not  connected  with  the  investiture  of  the  mayor, 
which  took  place  in  October; 6  it  has  been  held  pretty  regularly  every  twenty 
years  from  the  middle  of  the  sixteenth  century,7  usually  in  August  or  September, 


1  Cf.  the  Don  de  Dieu  at  Quebec  in  1908,  and  the  Half -Moon  and  the  Clermont  of  the 
Hudson-Fulton  Pageant  of  1909,  (below,  pp.  241  and  242).    For  this  Rouen  procession,  see 
U  Illustration  for  17  June,  1911,  p.  505:   a  photograph  of  the  drakar  landing  on  the  banks  of 
the  Seine  is  reproduced. 

2  Cf.  below,  p.  239. 

3  Another  French  celebration  of  an  historical  event  by  means  of  pageantry  more  closely 
united  to  the  older  sort,  is  seen  in  the  festival  at  Orleans  for  Joan  of  Arc.    That  on  6,  7,  and 
8  May,  1912,  is  pictured  in.  U  Illustration  for  n  May,  1912,  p.  413.    On  the  fete  at  Compiegne, 
see  below,  p.  187. 

4  See  above,  vol.  i,  p.  34. 

5  Cf.  the  picture  in  the  Illus.  Lond.  News  for  3  September,  1842,  p.  276. 

6  Hist.  Preston,  p.  10.    On  p.  43  is  given  the  list  of  years  on  which  the  Guild  has  been 
held:  1329, 1397, 1418, 1429,  1458,  1501, 1543, 1562,  1582,  1602, 1622, 1643,  l662>  l682>  *7O2i 
1722,  1742,  1762,  1782,  1802,  and  1822. 

fe  t7  Ibid.,  pp.  9,  68,  96, 103.  The  Guild  for  1762  (p.  104  f.),  that  for  1782  (109  f.)  1802  (nof.) 
and  the  plan  of  that  for  1822  (119  f.)  are  described.    The  names  of  the  aldermen  and  grand 


SURVIVALS  AND  REVIVALS  165 

"  commencing  on  the  Monday  after  the  decollation  of  St.  John."  1  The  Guild 
was  held  in  1882,  and  again  in  1902,  but  without  any  great  emphasis  on  pag 
eantry.2 

The  "  Shrewsbury  Show,"  -  which  appears  to  have  its  origin  in  the  Corpus 
Christi  procession  —  has  also  been  mentioned.3  It  lasted  well  into  the  nine 
teenth  century. 

EDINBURGH  TRADE  PROCESSION  IN  1832 

A  trade  procession,  which  seems  to  have  been  "  occasional "  and  political  as 
well,  took  place  in  Edinburgh,  on  10  August,  i832.4  Seventy-one  guilds  and 
other  associations  marched  to  celebrate  "  the  triumph  of  the  Great  Cause  of 
Reform  "  through  the  streets  of  the  capital  of  Scotland.  Most  of  the  marchers 
carried  only  banners,  but  some  showed  examples  of  their  workmanship  as  well; 
and  the  St.  Crispin  Society  "  are  to  turn  out  in  all  the  splendour  of  the  craft, 
with  the  king,  his  pages,  and  the  various  ministers  of  state,  together  with  the 
British  and  Indian  Princes,  and  their  attendants,  the  Champion,  &c."5  With 


seneschals  on  "  guild  years  "  from  1397  on,  are  given  (ibid.,  p.  97  f.).  The  institution  may 
date  from  the  time  of  Henry  II,  Duke  of  Normandy  in  1172  (p.  68),  but  holds  a  charter  from 
temp.  Henry  III  (p.  9). 

1  Ibid.,  pp.  9  and  71. 

2  Various  triumphal  arches  of  the  "  Guild  Merchant "  of  1882  are  pictured  in  the  Illus. 
Lond.  News,  of  9  September,  1882,  p.  281.    The  municipal  procession,  and  other  celebrations 
are  described,  ibid.,  p.  282.  Among  the  scheduled  entertainments,  were  "  a  grand  tournament, 
or  assault-at-arms,  joined  by  soldiers  of  the  cavalry  and  infantry,"  and  a  sham-fight,  follow 
ing  a  review  of  four  thousand  volunteers  and  other  troops. 

In  the  Illus.  Lond.  News  of  1902,  are  pictured:  the  "  Clerk  proclaiming  the  Guild,"  on 
23  August  (30  August,  p.  307);  one  arch,  and  the  "  State  Progress  of  Earl  Derby,  the  Guild 
Mayor,  to  church,"  on  31  August  (6  September,  p.  340);  three  cars  in  the  procession  of  the 
combined  trades  —  in  which  about  ten  thousand  people  took  part,  and  every  craft  was  repre 
sented:  the  exhibit  of  the  Tin  Platers  and  Wire  Workers,  that  of  the  Textile  Trades,  and  the 
living  pictures  (in  frames)  shown  by  the  Picture-Framers.  (13  September,  1902,  p.  376.) 

3  See  above,  vol.  i,  pp.  32  f. 

4  There  are  two  copies  of  the  Order  of  Procession  in  the  Brit.  Mus.  [1882.  d.  2  (17)  and 
808.  m.  16  (57)].    An  account  of  the  procession,  printed  n  August,  1832,  is  on  a  broadside 
also  in  the  Brit.  Mus.  [808.  m.  16  (63)]. 

5  So  the  Order  of  Procession.   The  broadside  says:  "  This  body  presented  a  most  imposing 
spectacle  in  the  magnificent  pageant  of  King  Crispin  which  was  got  up  in  a  style  of  splen 
dour  hitherto  unequalled."    Does  this  imply  that  the  procession  was  an  annual,  or,  at  any 
rate,  a  periodic  affair  ? 

Just  as  St.  George  became  King  George  in  many  a  later  version  of  the  mummers'  play, 
so  St.  Crispin  seems  to  have  become  King  Crispin  even  without  the  aid  of  the  Hanoverians. 
This  may  have  been  due  to  the  Presbyterians'  dislike  for  Romish  saints;  for  St.  Crispin 
figured  at  Shrewsbury  in  1845.  (Cf.  above,  vol.  i,  p.  33,  n.  i.) 

The  "  champion  "  is  evidently  a  "  knight  in  armor  ";  whether  adapted  from  a  trade- 
figure  or  an  earlier  chivalric  representation,  it  is  impossible  to  say.  The  chances  are,  that 
he  can  claim  the  former  origin,  if  he  does  not  show  a  survival  of  the  civic  muster. 


1 66  ENGLISH  PAGEANTRY 

the  Printers,  rode  a  "  man  on  horseback  working  a  Portable  Press,  and  distribut 
ing  the  impressions  to  the  surrounding  spectators."  Two  cars  followed —  one, 
drawn  by  a  horse,  carried  printers  at  work;  the  other,  drawn  by  six  devils,1 
showed  a  man  working  at  a  press.  The  Bookbinders  exhibited  a  model  of  a 
standing-press  "  with  a  parcel  of  elegant  bindings  ";  a  Champion  in  armor,  on 
horseback,  supported  by  two  Highland  chiefs,  accompanied  the  Wallace  Youths' 
Society;  the  Highland  Societies  wore  their  full  Highland  costume;  and  five 
boys  drew  a  car  on  which  was  a  large  Thistle,  nearly  ten  feet  high. 

THE  COVENTRY  PAGEANT  —  LADY  GODIVA 

What  may  be  a  survival  —  or  revival  —  of  folk-pageantry,  to  which  a  memory 
of  the  distant  past  has  been  added,  and  into  which  a  strong  element  of  trade  has 
been  infused,  is  the  procession  which  is  often  a  feature  of  Coventry  Fair.2 

"  The  first  record  of  a  procession  in  which  Lady  Godiva  was  represented," 
writes  the  Town  Clerk  of  Coventry,  Mr.  George  Sutton,3  "  was  in  1678,  and  the 
early  processions  appear  to  have  been  organized  more  or  less  under  the  auspices 
of  the  Corporation.4  It  has  been  held  at  intervals  of  a  few  years,  more  or  less 
regularly  ever  since,  though  of  later  years  the  intervals  have  tended  to  become 


1  Probably  these  were  printers'  devils,  and  had  not  even  a  punning  connection  with  the 
devils  of  the  sixteenth-century  Lord  Mayor's  Shows. 

2  On  this,  see  Ditchfield,  p.  245;  Mary  D.  Harris,  The  Story  of  Coventry  (in  Dent's  Mediae 
val  Town  Series)  [London,  1911]  pp.  19  f.;   her  Life  in  an  Old  English  Town  (in  the  Social 
England  Series)  [London,  1898]  p.  10;    Benjamin  Poole,  History  of  Coventry  (1852);    his 
Coventry:   its  History  and  Antiquities  (1870);  and  the  Pamphlet  recorded  in  the  Bibliography 
s.v.  COVENTRY.    Chambers,  ii,  p.  163,  notes  that  Godiva  was  added  to  the  Corpus  Christi 
procession;    he  further  suggests  the  possibility  of  the  root  of  "  the  Godiva  processions  " 
being  in  the  pre-Christian  perambulations  of  the  fields  in  spring  (cf.  above,  vol.  i,  p.  25).    Cf . 
also,  on  this  procession,  Fairholt,  Civic  Garland,  p.  xiv  f. 

3  In  a  letter  dated  19  January,  1914.    "  It  was  not  .  .  .  until  the  time  of  Charles  II  that 
the  Godiva  procession  became  a  feature  of  Coventry  fair.    In  1678,  we  are  told  '  Lady  Godiva 
rode  before  the  mayor  to  proclaim  the  fair  '  and  the  custom  thus  inaugurated  obtains  to  this 
day."    Harris,  The  Story  of  Coventry,  pp.  19  f.    Miss  Harris  gives  no  authority  for  her  state 
ment;   but  in  her  Life  in  an  Old  English  Town,  p.  10,  she  uses  the  same  words,  citing  Poole 
(1870)  pp.  57-66.    Poole,  p.  58  cites  (from  Matthew  of  Westminster  and  Dugdale)  the  his 
torical  sources  of  the  Godiva  story;  in  neither  is  there  mention  of  Peeping  Tom,  who  seems 
to  be  a  later  fictitious  addition.    Poole  reprints  various  treatments  of  the  story  in  verse  (pp. 
60-64). 

4  "  In  this  year  (1677-8),  in  the  Mayoralty  of  Mr.  Michael  Earle,  there  was  a  new  show 
on  the  Summer,  or  Great,  Fair,  of  followers  —  that  is,  boys  sent  out  by  the  several  companies, 
and  each  Company  having  new  Streamers,  and  Lady  Godiva  rode  before  the  Mayor  to  pro 
claim  the  Fair."    Poole,  p.  64,  citing  the  Corporation  Records.    He  notes  that  the  fair  had 
been  established  by  a  charter  of  Henry  III  early  in  the  twelfth  century  (c.  1217  or  1218);  it 
began  on  the  feast-day  of  the  Holy  Trinity  and  continued  for  eight  days;  it  was  proclaimed 
with  considerable  parade  by  the  civic  authorities,  even  before  Lady  Godiva  appeared. 


SURVIVALS  AND  REVIVALS  167 

greater.  The  last  procession  was  in  connection  with  the  Coronation  Festivities 
of  1911.  I  do  not  know  when  there  is  likely  to  be  another,  but  it  is  usual  to  have 
a  procession  on  the  occasion  of  any  general  public  celebration,  such  as  the  Coro 
nation,  or  a  Jubilee.  .  ." 

As  the  show,  during  the  nineteenth  century,  seems  to  have  had  more  downs 
than  ups,  it  may  be  interesting  to  examine  its  history,  bearing  the  contemporary 
development  of  the  London  Lord  Mayor's  Show  in  mind  the  while.  The  pro 
cession  of  1826  is  described  in  a  pamphlet  which  may  be  found  in  the  British 
Museum.1  The  effigy  of  Peeping  Tom  is  described :  it  is  somewhat  larger  than 
life-size,  and  is  of  "considerable  antiquity";  it  is  made  of  oak,  and,  in  its 
original  state,  represented  a  man  in  armor.  Some  changes  in  painting,  altera 
tions  in  the  fashion  of  its  garments,  and  the  loss  of  its  hands  have  modified  it 
considerably.2  It  is  "  to  be  seen  at  the  corner  of  Hertford  Street,  in  an  opening 
at  the  upper  part  of  the  house."  3 

In  1826,*  after  the  City  Guards,  came  St.  George,  armed  cap-a-pie;  Lady 
Godiva  followed  the  High  Constable ;  then  came  the  mayor  and  his  attendants, 
and  the  aldermen  and  sheriffs.  Various  Companies  and  Societies  followed;  and 
the  procession  came  to  an  end  with  the  Wool-Combers,  a  shepherd  and  shep- 


1  The  History  of  Coventry  Show  Fair,  with  a  Particular  Account  of  Lady  Godiva  and  Peeping 
Tom,  and  an  Interesting  Description  of  the  Grand  Procession;    (see  the  Bibliography,  s.v. 
COVENTRY.)    An  engraving  of  the  effigy  of  Peeping  Tom  is  opposite  p.  7. 

2  The  writer  of  the  pamphlet  seems  to  think  that  the  effigy  dates  from  before  1678.    One 
may  hazard  the  guess  that  it  was  an  earlier  St.  George,  or  some  other  chivalric  man  in  armour, 
from  an  older  show,  to  whom  the  individuality  of  Peeping  Tom  was  attached. 

On  Peeping  Tom,  see  Life  in  an  Old  English  Town,  p.  7,  n.  3.  "  The  name  .  .  .  occurs  in 
the  city  accounts,  June  n,  1773,  when  a  new  wig  was  obtained  for  the  effigy."  Miss  Harris 
refers,  on  the  origin  of  the  character,  to  D.  N.  B.,  s.v.  GODIVA. 

As  recently  as  1710  no  less  than  forty  armed  men  attended  the  mayor  and  aldermen  at 
the  Fair.  (Pamphlet,  p.  15,  n.  i ;  Poole  (1870)  p.  66).  "  The  City  Guards,  or  men  in  armour 
who  led  the  way,  are  intended  to  represent  the  armoured  men  provided  by  the  ancient  guilds 
and  city  companies,  with  each  of  which  guilds  or  companies  it  was  customary  to  send  out 
their  guards  to  accompany  the  mayor  in  making  proclamation  of  the  fair."  (Poole,  p.  66). 
"  Their  armour  consisted  of  corselets,  with  and  without  skirts,  back  pieces  and  morions,  and 
their  offensive  weapons  either  the  characteristic  English  long-bow,  or  the  variously  formed 
bill  .  .  .  the  whole  assemblage  being  an  interesting  display  of  ancient  armour,  of  which  there 
are  now  but  few  remains."  (Pamphlet,  p.  15 ;  cf .  ibid.,  n.  2 :  "  This  Armour  has  recently  been 
very  judiciously  cleaned  and  restored.") 

3  Pamphlet,  pp.  7!.;   see  also  Poole  (1870)  p.  59;    The  Story  of  Coventry,  p.  342;   Poole 
(1852)  pp.  n  f.    Baedeker's  Great  Britain  (1910)  p.  272,  remarks  that  "  '  Peeping  Tom  '  is 
pilloried  in  a  bust  at  the  corner  of  Hertford  Street." 

4  Both  the  pamphlet  and  Poole  (1870)  pp.  65  f.,  print  the  order  of  the  1826  procession, 
which  took  place  on  26  May.    The  latter  remarks  that  this  "  is  the  last  procession  but  one  in 
which  the  mayor  and  corporation  appeared  in  their  gorgeous  civic  costume  .  .  .  their  final 
participation  in  the  pageant  being  in  1829." 


1 68  ENGLISH  PAGEANTRY 

herdess  with  dog  and  lamb;  Jason,  with  the  Golden  Fleece;  five  wool-sorters, 
and  Bishop  Blaize.1 

"  The  City  Followers,  whose  original  characters,  probably,  were  those  of 
pages  or  trainbearers  .  .  .  are  habited  in  antique  dresses,  the  singular  costume  of 
which  produces  a  remarkable  contrast  to  the  shewy  and  tasteful  style  generally 
used  in  the  decoration  of  this  most  interesting  portion  of  the  procession."  2 
Concerning  Lady  Godiva,  the  pamphlet  says:  "The  female  representing  the 
fair  patroness  of  Coventry  is  usually  habited  in  a  white  cambric  dress,  closely 
fitted  to  the  body,  and  a  profusion  of  long  flowing  locks  ...  On  some  few  recent 
occasions,  indeed,  changes  of  a  most  ridiculous  nature  have  been  made,  by  the 
addition  of  a  sort  of  petticoat,  thus  destroying  all  the  illusion  of  the  personifica 
tion,  and  sacrificing  consistency  at  the  shrine  of  mock-delicacy."  3 

After  1835,  the  civic  element  gave  way  to  history.  "  Since  the  passing  of  the 
Municipal  Act  of  1835,  the  '  make-up  '  of  the  procession  has  borne  comparatively 


1  These  last  four  are  evidently  either  trade  pageants,  or  characters  from  trade  pageants. 
The  pamphlet  (p.  22)  records  that  the  shepherd  and  shepherdess  rode  on  horseback  before 
1824,  in  which  year  they  "  were  first  displayed  underneath  a  large  bower;  ...  a  living  lamb 
supplied  the  place  of  the  former  artificial  lamb  "  (held  formerly  in  the  lap  of  the  shepherdess) 
"  the  dog  attending  upon  the  shepherd  as  usual;  an  alteration  which  gave  such  general  satis- 
action  that  it  was  repeated  in  1826,  and  is  likely  to  become  the  regular  practice  in  future." 

From  the  description  in  the  pamphlet  (pp.  22  f.)  Jason  and  the  Bishop,  we  may  presume, 
were  alive.  St.  George  appears  because  some  authorities  assert  he  was  born  in  Coventry,  or, 
at  any  rate,  lived  there.  "  In  Percy's  Reliques  of  Antient  English  Poetry  it  is  recorded  of  him, 
that  after  his  wonderful  adventures  abroad,  he  returned  to  England:  — 

"  '  Where  being  in  short  space  arrived 
Unto  his  native  dwelling  place, 
Therein  with  his  dear  love  he  lived 
And  fortune  did  his  nuptials  grace. 

They  many  years  of  life  did  see, 

And  led  their  lives  at  Coven tre.' ' 

Much  of  Poole's  material  seems  to  come  from  the  pamphlet,  from  which  he  differs  but  slightly 
in  his  account  of  this  pageant.  The  latter,  on  p.  16,  quotes  from  The  Birth  of  St.  George 
"  printed  by  Bishop  Percy,"  and  adds  the  authority  of  the  History  of  the  Seven  Champions  of 
Christendom  which  records  St.  George's  birthplace  as  Coventry.  On  p.  17,  the  above  stanza 
is  quoted  from  "  another  ballad  printed  in  the  same  [Percy'sl  collection." 

The  characters  mentioned  in  the  text  above,  were,  through  inadvertence,  attributed  to 
Preston  (above,  vol.  i,  p.  35).  The  reader  can  make  the  necessary  correction. 

2  Pamphlet,  p.  18.    Poole  (1870)  p.  66,  says:  "  The  little  children  denominated  '  followers' 
.  .  .  are  supposed  to  have  some  affinity  to  the  children  introduced  into  the  religious  mystery 
plays  in  the  character  of  angels.    Great  pains  are  still  bestowed  upon  them  by  their  parents 
and  patrons  in  attiring  them  richly  and  tastefully,  so  as  to  make  them  appear  as  angelic  as 
possible  wherever  the  grand  opportunity  is  presented."    It  should  be  remarked  that  children 
were  commonly  seen  in  the  Lord  Mayor's  Show,  and  that  the  miracle-plays  were  nearly  dead 
in  1678. 

3  Pamphlet,  pp.  18-19.    Already  in  1827  the  Victorian  era  had  begun! 


SURVIVALS  AND  REVIVALS  169 

small  resemblance  to  what  it  has  previously  been,1  and  it  is  always  appointed  to 
take  place  on  the  Fair  Monday,  instead  of  on  Friday,  the  first  day,  as  was  the 
ancient  practice."  2 

Dissatisfaction  with  the  procession  was  voiced  about  the  middle  of  the  cen 
tury.  "  Although  a  strenuous  effort  was  made  so  lately  as  the  year  i845,3  by 
the  whole  clergy  of  the  City,  and  the  major  part  of  the  municipal  authorities, 
backed  up  by  a  remonstrance  from  the  Bishop  of  the  Diocese,  against  the  con 
tinuance  of  an  usage  alleged  to  be  of  so  questionable  a  character,  and  so  much 
at  variance  with  the  spirit  of  the  age  —  all  this  resistance  failed  to  defeat  the 
popular  resolution  which  had  been  taken  to  enforce  the  procession  as  usual.  On 
this  occasion,  however,  the  style  of  the  procession  was  so  good  as  to  afford  no 
reasonable  ground  for  objection  to  the  observance  of  this  ancient  usage."  4 


1  A  pamphlet  entitled  Peeping  Tom  and  Lady  Godiva;   a  Brief  Account  of  the  Origin  and 
Mode  of  Conducting  the  Show  Fair  at  Coventry.    (Coventry,  1839)  in  the  Brit.  Mus.  (12431. 
aa.  4),  gives  the  order  of  procession  of  the  1678  Fair,  that  of  1829,  and  says  that  the  proces 
sion  of  1836  differed  but  little  from  them. 

2  Poole  (1870),  p.  67.    He  continues:   "  The  new  corporation  never  took  any  part  in  it, 
and,  consequently,  it  lost  from  that  time  all  the  brilliancy  of  the  civic  costume,  the  fine  ancient 
regalia,  and  the  stamp  of  authoritative  sanction.    The  withdrawal  of  these,  of  course  made 
the  introduction  of  something  else  necessary,  to  fill  up  the  void;   and  accordingly  Godiva 
was  now  accompanied  by  the  representatives  of  various  personages  whose  names  are  histori 
cally  connected  with  the  city  ...    so  that,  upon  the  whole,  a  very  imposing  and  gorgeous 
procession  is  still  provided  whenever  the  undertaking  is  entered  upon,  which  is  much  more 
seldom  than  in  former  years  .  .  .  first,  on  account  of  the  expense,  which  amounts  to  a  large 
sum,  but  which,  since  the  withdrawal  of  the  corporation  from  it  [i.  e.  the  show  ?]  devolves 
on  very  uncertain  resources:  and  secondly,  on  the  question  of  taste  or  propriety  in  reference 
to  the  representation  of  the  chief  personage,  the  Lady  Godiva  .  .  .  and  there  can  be  no  doubt 
that  it  [the  opposition]  has  had  the  effect  of  causing  more  circumspection  to  be  exercised  than 
heretofore,  in  the  selection  of  the  person  appointed  to  represent  the  great  heroine,  and  also 
in  bringing  into  use  a  decent  costume  in  lieu  of  the  former  imitation  of  entire  nudity.    More 
than  once,  under  the  popular  management  of  the  pageant,  females  of  professional  reputation 
in  the  metropolis,  have  not  hesitated  to  become  the  public  representative  of  the  far-famed 
countess.  .  . 

"  In  the  catalogue  for  the  sale  of  the  effects  left  by  the  late  corporation,  which  were  sold 
in  the  month  of  July,  1836,  the  following  articles  connected  with  the  procession,  are  enu 
merated:  namely  —  '  Lady  Godiva's  cap;  Lady  Godiva's  pages'  cap;  Lady  Godiva's  side 
saddle,  cover  and  three  girths;  three  city  flags;  four  pair  of  fasces;  two  pairs  of  fasces,  gilt 
head;  fourteen  fasces  used  in  procession,  in  lots;  two  staves;  six  swords;  six  saddle-cloths, 
embroidered  with  silver;  ten  ancient  vests,  worn  in  procession;  two  followers'  dresses;  six 
ancient  belts;  two  city  followers'  caps;  four  black  horse-cloths,  used  in  procession.' ': 

3  Poole  (1852),  pp.  13  f. 

4  An  engraving,  (opposite  p.  14  in  Poole's  1852  volume,)  published  by  David  Lewin,  of 
Coventry,  resembles  that  in  the  1827  pamphlet  (published  by  Meridew  and  Son).    Both  show 
the  procession  passing  the  City  Hotel,  and  both  include  Peeping  Tom  in  the  house  on  the 
opposite  corner.    W.  F.  Taunton's  drawing,  made  in  1868  for  Poole's  1870  volume  (opposite 
p.  56),  is  a  copy  of  one  of  the  earlier  illustrations. 


170  ENGLISH  PAGEANTRY 

The  1848  show  is  described  in  a  contemporary  publication; l  it  took  place 
on  26  June.  Lady  Godiva  was  represented  by  Madame  Warton  of  the  Walhalla, 
London.  Edward  the  Confessor  (Mr.  Warton) ;  Henry  VI  and  Queen  Margaret, 
Sir  John  Falstaff,  William  and  Adam  Bottener,  Sir  Thomas  White,  and  Sir 
William  Dugdale  appeared.2  "  An  elegant  sylvan  car  or  bower,  in  which  played 
a  fountain,"  closed  the  procession:  Strephon  and  Phyllis,  with  dog  and  flock, 
made  up  the  pastoral  scene.3 

"  After  an  interval  of  eleven  years,"  the  show  was  revived  on  23  June,  i862.4 
The  procession  was  led  by  two  heralds;  following  them  came  a  detachment  of 
the  First  Life  Guards ;  then  the  City  Arms ; 5  then,  after  the  band  of  the  me 
nagerie,  "St.  George,  the  canonised  pork  butcher  of  Cappadocia,  arrived  cap-a-pie 
with  feathers  in  his  helmet  .  .  .  following  the  twelve  men  with  tureens  and  por 
ringers.  St.  George's  attendant  was  dressed  in  the  costume  of  a  Templar." 
Members  of  various  city  guilds  came  next,  the  "  followers  "of  the  companies 
being  represented  by  richly-dressed  children.  After  the  yeomen,  came  a  fire 
engine,  with  members  of  the  volunteer  fire  brigade ;  the  Ancient  Order  of  For 
esters  ;  Robin  Hood  and  Maid  Marian,  with  Will  Scarlet,  Friar  Tuck,  and  other 
merry  men,  preceded  the  Black  Prince  in  black  armor.  After  more  bands  and 
companies  came  Lady  Godiva  on  a  white  oharger;  there  were  in  the  procession, 
also,  Richard  II,  Henry  IV,  Henry  VI  and  Margaret,  Henry  VIII,  and  Queen 
Elizabeth.  After  Sir  John  Falstaff  and  more  soldiers,  came  "  last  of  all,  on  a 
lurry  (sic)  and  four,  a  youth  and  a  maiden,  —  a  handsome  '  Florizell '  and  a 
pretty  '  Perdita,'--  dressed  as  a  shepherd  and  shepherdess,  seated  in  a  sylvan 
bower,  and  at  their  feet  a  sheepdog  and  a  lamb."  7  The  procession  was  over  a 


1  See  the  Era  for  2  July  1848,  p.  6,  col.  3. 

2  Poole  (1870),  p.  67,  tells  how  these  figures  are  appropriate.    Falstaff  was  identified  with 
Coventry  by  Shakspere;   William  and  Adam  Botoner  (sic)  were  intimately  connected  with 
St.  Michael's  Church;  Sir  Thomas  White  was  a  great  benefactor  of  the  city;   Dugdale  was 
the  eminent  county  historian  of  Warwickshire. 

3  Era,  loc.  cit.    This  pastoral  scene  evidently  descends  from  the  Wool-Combers. 

The  Godiva  procession  of  1851  is  pictured  and  described  in  the  Illus.  Lond.  News  for  5 
July,  1851,  pp.  i  and  2.    It  included  St.  George  and  a  May  Queen. 

4  On  this,  see  the  London  Times  for  30  April,  1862,  p.  12,  col.  2;  for  n  June,  p.  6,  coL  6; 
25  June,  p.  12,  col.  2;  the  Era  for  29  June,  1862,  p.  15,  col.  4;  the  Morning  Star  for  25  June, 
1862,  p.  6,  col.  6.    The  latter  (disagreeing  with  the  Times  for  25  June,  p.  12,  which,  citing  the 
Express,  notes  that  on  the  23d  the  procession  was  revived  "  after  an  interval  of  eleven  years  ") 
says  "  Eight  years  have  passed  since  this  famous  Lady  Godiva  pageant  was  exhibited  at 
Coventry."    Cf  also  Fairholt's  Civic  Garland,  pp.  xiv  f.;  Fun,  for  28  June,  1862,  p.  144. 

5  A  real  elephant  with  a  pasteboard  castle  on  his  back.    Cf.  above,  vol.  i,  p.  68,  n.  2  (on 
p.  69)  and  the  drawing  opposite  p.  68. 

6  Morning  Star,  issue  cited. 

7  Morning  Star.    Fairholt  includes  Jason  and  Bishop  Blaize;    the  Times  for  n  June, 
1862,  tells  of  plans  to  include  Leofric,  Earl  of  Mercia,  the  husband  of  Lady  Godiva;   a  car 
emblematic  of  the  Seasons,  William  and  Adam  Bottmer  (sic)  former  mayors  of  Coventry, 


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SURVIVALS  AND  REVIVALS  171 

mile  in  length,  and  was  made  possible  by  subscriptions  —  about  £200  had  been 
raised  by  the  end  of  April.1  —  The  Committee  spent  nearly  £300,  and  it  is 
interesting  to  note  that  the  costumes  were  all  made  in  Coventry.  Fourteen 
city  guards,  clad  in  suits  of  old  armor  in  the  possession  of  the  Corporation,  were 
a  feature  of  the  show. 

The  latest  appearance  of  Lady  Godiva  was  in  1911 ;  "  it  has  been  decided  to 
follow  the  precedent  of  the  last  Coronation  festivities  with  regard  to  the  costume 
to  be  worn  by  the  representative  of  Lady  Godiva  in  the  procession  on  this  occa 
sion.  Lady  Godiva  will  be  represented  in  silk  fleshings,  with  a  gauze  cape  carried 
under  the  left  arm  to  the  right  shoulder,  and  having  a  long  flowing  wig  covering 
the  greater  part  of  her  figure." 

This  procession  seems  to  have  its  root  in  the  Fair,  though  the  latter  may  have 
attracted  an  earlier  Corpus  Christi  procession;  it  soon  took  unto  itself  trade 
elements;  and  these  have  persisted,  in  spite  of  the  emphasis  on  history  which 
has  grown  since  the  civic  authorities  departed  from  the  show  in  1829.  There 
is  a  tendency  toward  the  carnival  in  the  figures  from  fiction;  but  the  pageant 
serves  to  keep  the  past  of  the  city  fresh  in  the  minds  of  the  inhabitants,  and 
resurrects  the  worthies  of  civic  history  in  much  the  same  way  as  did  the  Lord 
Mayor's  Show  of  the  seventeenth  century. 


§  4.    POLITICAL  PAGEANTRY 

Every  procession  with  an  effigy  to  which  a  political  signification  has  been 
given  is,  strictly  speaking,  a  political  pageant;  from  the  multitude  of  such 
shows  it  will  be  sufficient  to  select,  as  representatives,  the  "  Pope-burnings  "  of 
1679-82,  and  the  Orange  processions  of  Belfast.  We  have  already  seen  3  that 
foreign  sailors  carried  the  image  of  Judas  Iscariot  through  the  streets  of  English 
ports,  before  they  flogged  it.  A  wickerwork  representation  which  replaced  the 
human  victim  of  early  sacrifices  gave  rise,  folk-lorists  say,  to  the  folk-giant  on 
one  hand,  and  the  saint's  image  on  the  other;  and  the  change  from  religion  to 
politics  is  made  as  soon  as  the  effigy  receives  a  political  signification. 

Brayley 4  notes  that  the  Pope-procession  "  arose  in  Queen  Elizabeth's  reign, 


and  Sir  William  Dugdale,  the  antiquarian,  besides  those  we  have  mentioned.  The  Era  for 
29  June,  1862,  adds  further  notice  of  Sir  Thomas  White,  a  merchant  temp,  Henry  VIII,  and 
Mr.  John  Hales,  a  merchant  temp.  Edward  VI.  (Poole  (1870),  p.  67,  notes  that  Hales  founded 
the  Free  School.)  All  the  royalties  and  celebrities  were  connected  with  Coventry  history. 

1  Times  for  30  April,  1862,  p.  12,  col.  ?. 

2  The  London  Times  for  10  March,  1911,  p.  n,  col.  3.    On  14  February,  p.  n,  col.  5,  the 
Times  recorded  (in  an  obscure  paragraph)  the  decision  to  celebrate  the  coronation  by  means 
of  a  procession  at  Coventry. 

3  Above,  vol.  i,  p.  16.    Cf.  above,  p.  156,  and  n.  5. 

4  Londiniana,  iv,  p.  74. 


172  ENGLISH  PAGEANTRY 

and  it  was  occasionally  observed  on  the  anniversary  of  her  birth,1  (viz.  November 
the  17th,)  till  after  the  commencement  of  the  last  century,  although  not  always 
with  a  similar  degree  of  pomp  and  uproariousness  .  .  .  The  most  famous  of  these 
processions  were  those  of  1679,  1680  and  i68i."2  Evelyn,  in  his  Diary  under 
date  of  5  November,  i673,3  says  that  the  Pope  was  burned  in  effigy,  after  being 
paraded  in  triumph  in  the  streets,  to  show  the  people's  displeasure  that  the 
Duke  of  York  altered  his  religion  and  married  the  Catholic  Mary  d'Este,  daugh 
ter  of  the  Duke  of  Modena. 

A  contemporary  account  of  the  Pope-burning  of  1679  is  reprinted  by  Brayley ; 4 
the  show  consisted  of  a  long  procession  with  the  Pope's  image  on  a  pageant.5  A 
song,  sung  by  "  Cardinal  Norfolk  "  and  "  Plebians  "  preceded  the  burning. 

1680 —  A  POPE  BURNT  AT  LONDON  AND  AT  EDINBURGH 

The  following  year,  there  was  an  elaborate  Pope-burning  at  London,  of  which 
Settle  was  in  charge.6  In  the  procession  were  nine  pageants,  with  representatives 


1  Meaning  her  accession;  she  was  born  on  6  September  —  see  Lord  Herbert's  Henry  VIII, 
p.  510.    D.  A.  B.,  s.v.  Elizabeth,  dates  her  birth  7  September. 

2  I  have  found  no  mention  of  this  kind  of  thing  before  1673;  but  it  is  quite  likely  that  the 
religious  feeling  of  England  in  the  hundred  years  before  that  date  had  received  pageantic 
expression. 

Various  descriptive  pamphlets  dealing  with  these  ceremonies  (1679-82)  are  listed  in  the 
Bibliography,  s.v.  POPE-BURNING;  the  same  sort  of  thing  is  fjound  in  Boston  (Massachusetts) 
in  the  following  century.  See  p.  176,  below. 

In  Fairholt's  copy  of  London's  Defiance  to  Rome  (preserved  in  SA)  occurs  this  MS.  note, 
inter  alia:  "  In  the  Letters  to  &  from  the  Earl  of  Derby  (Lond.  1710)  is  an  account  of  the 
Pope-burning  in  1678,  when  Mr.  Mountagu,  a  French  agent,  was  in  London.  —  '  It  was  the 
next  Pope-burning  day,  he  made  me  promise  to  show  him  the  burning  of  the  Pope.  He  came 
with  a  gentleman,  that  spoke  English  pretty  well,  to  the  Palsgrave  head  Tavern  at  five, 
where  I  stayed  for  him,  and  carried  him  within  Temple  Bar,  to  a  Friend's  house  of  mine; 
when  he  saw  the  Shew,  and  the  great  concourse  of  people  which  was  very  great  at  that  time, 
to  his  great  Amasement  ...  At  my  return  he  seemed  frighted,  being  afraid  that  some  body 
that  had  been  in  the  room  had  known  him,  for  then  he  might  have  been  in  some  danger,  for 
had  the  Mob  had  the  least  intimation  of  him  they  had  torn  him  to  pieces  ...  he  wondered 
when  I  told  him  no  manner  of  mischief  was  done,  not  so  much  as  a  head  broke;  but  in  3 
or  4  hours  were  all  quiet  as  at  other  times.'  "  (I  have  not  seen  a  copy  of  the  book  cited  here; 
it  is  not  in  Gh.,  BM.,  SA.,  or  Bodl.) 

3  Cited  by  Brayley,  iv,  p.  88. 

4  Op.  cit.,  iv,  p.  73;  cf.  Scott's  Dryden  (ed.  Saintsbury,  18  vols.,  Edinburgh,  1882-93)  vi, 
pp.  237  f.    A  pamphlet  entitled  Londons  Defiance  to  Rome  [in  SA  and  Bodl.  (though,  Midds. 
32)]  recounts  this  show.    F.  C.  Brown,  p.  61,  notes  Settle's  part  in  preparing  this  pageantry. 

6  Fairholt,  pt.  i,  p.  92,  n.  2,  mentions  prints  illustrating  the  Pope-burnings  of  1679  and 
1680,  and  notes  that  the  former  is  reproduced  by  Brayley. 

6  On  this,  see  The  Solemn  Mock  Procession,  (London,  1680)  recorded  in  the  Bibliography, 
s.v.  POPE-BURNING;  North's  Examen,  pp.  571  f.  (cited  by  Brayley,  iv,  p.  80,  and  in  Saints- 
bury 's  Scott's  Dryden)  describes  the  shows  of  1680,  1681,  and  1682  which  North  witnessed. 


SURVIVALS  AND  REVIVALS  173 

of  various  Catholic  dignitaries  on  each.  The  parade  was  led  by  the  captain  of 
the  Pope's  guard;  then  came  ten  "  Pioneers  in  Red  Caps  and  Coats,"  who  were 
followed  by  a  "  Bellman  ringing,  and  saying  in  a  loud  doleful  Voice,  Remember 
Justice  Godfrey."  Then  came  a  "dead  Bloody  Corps,  representing  Sir  Edm. 
Ber.  Godf."  supported  by  a  Jesuit  with  a  bloody  dagger.  There  followed  a 
banner  showing  Jesuits  hanging  on  a  gibbet  with  Mrs.  Cellier,1  "  and  all  her 
other  Presbyterian  Plot-forgers." 

Then  came  the  first  pageant,  on  which  were  figures  of  Mrs.  Cellier,  leaning 
on  a  meal-tub,  and  four  Protestants  in  masquerade;  after  which  rode  an  "  Ab- 
horrer  "  facing  the  tail  of  his  horse.  Four  Franciscans  occupied  the  second 
pageant;  Augustine  and  Dominican  friars,  the  third;  Jesuits,  the  fourth.  On 
the  fifth  were  Bishops;  on  the  sixth,  Patriarchs,  and  the  Pope's  Master  of  Cere 
monies  selling  Indulgences.  The  Pope  himself  occupied  the  seventh  pageant, 
with  the  Devil  at  his  elbow  and  the  Emperor  Frederick  sprawling  under  his 
feet  —  two  banners  bore  these  inscriptions :  This  is  the  King  of  Kings  and  Thou 
art  our  God  the  Pope.  On  the  eighth  pageant  rode  the  Empress  Donna  Olympia, 
with  nuns;  an  inscription  labelled  them  Curtezans  in  Ordinary.  The  ninth 
pageant  bore  a  Bishop- Judge,  surrounded  by  Monks,  before  whom  a  victim  of 
the  Inquisition  was  tied  to  a  stake;  round  about  were  scattered  racks  and  other 
instruments  of  torture. 

From  a  pamphlet  in  the  Fairholt  Collection,  we  get  these  added  details:  A 
"  vast  Bonfire  being  prepared  just  over  against  the  Inner-Temple-Gate,  his  Holi 
ness  after  some  Compliments  and  Reluctancies,  was  decently  Toppled  from  all 
his  Grandeur  into  the  Impartial  Flames;  The  crafty  Devil  leaving  his  Infalli 
bility-ship  in  the  lurch,  and  laughing  as  heartily  at  his  deserv'd  Ignominious  end, 
as  subtile  Jesuits  do  at  the  mine  of  Bigotted  Lay-Catholicks  .  .  .  This  Justice  was 
attended  with  a  Prodigious  Shout,  that  might  be  heard  far  beyond  Somerset- 
House;  and  'twas  believ'd  the  Eccho  .  .  .  reached  Scotland,  France,  and  even 


Cf.  also  London's  Defiance,  p.  4;  F.  C.  Brown,  pp.  62  f.,  (citing  Saintsbury's  Scott's  Dryden, 
vi,  pp.  237  f.).  North  records  that  these  processions  were  managed  by  the  King's  Head 
Club,  or  Green  Ribbon  Club. 

Illustrations  of  the  1680  procession  may  be  found  in  Fairholt's  collection  in  the  Society  of 
Antiquaries;  in  the  Brit.  Mus.  (C.  20.  /.  6  [26])  is  a  copperplate  engraving  (advertised  at  the 
end  of  The  Solemn  Mock  Procession)  accompanied  by  a  description.  This  is  reproduced  in 
F.  C.  Brown's  Elkanah  Settle,  p.  62. 

A  ballad,  entitled  London's  Drollery  (in  the  Roxburghe  collection,  ii,  no.  292)  describes 
the  nine  pageants  on  this  occasion. 

1  Brayley,  Lond.,  iii,  p.  205,  gives  an  account  of  "  the  Meal-tub  Plot,"  discovered  at  the 
house  of  Mrs.  Cellier,  a  midwife.  "  The  people  were  rendered  so  indignant  by  the  detection 
of  the  Meal-tub  Plot,  that  they  determined  to  express  their  feeling  against  the  Papists  in  a 
marked  way.  Accordingly,  on  the  seventeenth  of  November,  the  Anniversary  of  Queen 
Elizabeth's  Accession,  which  at  that  time  was  a  popular  holy-day,  the  annual  solemnity  of 
Burning  the  Pope  was  performed  with  additional  ceremonies  of  mock  grandeur." 


174  ENGLISH  PAGEANTRY 

Rome  itself  . . .  The  same  evening  there  were  large  Bonfires  generally  in  the  Streets 
and  universal  Acclamations,  Long  live  King  CHARLES,  and  let  Popery  perish,  and 
Papists  with  their  Plots  and  Counter-plots  ever  (as  hitherto)  be  confounded,  To 
which,  every  honest  Englishman  will  readily  say  Amen"  1 

The  enmity  against  Catholics,  which  was  particularly  strong  in  1680,  seems 
to  have  spread  to  Edinburgh,  where  the  University  authorities  tried  without 
success  to  prevent  the  students  from  burning  a  Pope.2  The  undergraduates 
"  took  a  Conceit  in  Imitation,  as  is  supposed,  of  your  Famous  City  of  London, 
to  Burn  the  Pope  in  Effigie  .  .  ."  The  "  cavalcade  "  of  "  his  Holiness  "  (who  was 
"  attyred  after  his  Antichristian  Manner,  with  his  Miter,  Keys,  &c.  and  settled 
in  his  Throne  ")  accompanied  him:  and  the  youths  put  "  heresy  "  (i.  e.  gun 
powder)  in  his  belly,  so  that  when  the  fire  reached  it,  he  blew  all  to  bits. 

The  students  who  carried  out  this  pageant  were  arrested  and  charged  with 
disloyalty  and  rebellion.  Their  defence  was  published  in  a  pamphlet  dated 
February,  1681,  and  signed  "  N.  M  ";3  the  students  did  not  mean  rebellion, 
treason,  or  "an  affront  upon  any  person  whatsoever  other  than  the  Pope."  4 
Encouragement  for  the  burning  came  from  England:  "  the  very  same  manner 
of  expressing  a  detestation  of  Popery  by  Burning  the  Pope,  has  been  practised 
in  London,  and  in  other  places  of  England,  without  any  Imputation  of  Disloyalty 
or  Sedition  that  ever  we  heard  of."  5 

LONDON  BURNS  OTHER  POPES 

In  1681,  London  repeated  the  show  on  17  November.  In  this  procession 
appeared  "  Sir  Edmundbury  Godfrey,"  besprinkled  with  blood,  with  a  twisted 
napkin  round  his  neck,  and  his  head  hanging  on  one  side;  there  were  effigies  of 


1  Londons  Defiance,  p.  4.    At  the  Lord  Mayor's  banquet,  this  year,  the  first  song  was  called 
The  Protestant's  Exhortation,  and  the  second  was  called  The  Plotting  Papist's  Litany;  it  began, 

"  Though  our  Plot  be  betray'd, 

Let  us  pursue  it, 
We  need  not  be  dismay'd, 

We  will  renew  it;  "  etc. 

No  suggestion  of  unfriendliness  to  Papists  occurred  in  the  Show  itself;    see  Jordan's 
descriptive  pamphlet,  which  is  outlined  by  Fairholt,  pt.  i,  pp.  92  f . 

2  See  "  A  letter  from  Edenbrough  to  a  Friend  in  London,  containing  the  Manner  of  Burn 
ing  the  Pope  there  in  Effigie  on  C/?m/-Mass  Day,  &c."  which  is  no.  4  in  a  collection  entitled 
Tracts  Relating  to  the  Popish  Plot,  1679-82.    [B.M.  8133.  h.  5  (i-io)]. 

3  A  Modest  Apology  for  the  Students  of  Edenburgh  Burning  a  Pope,  December  25,  1680, 
Humbly  Rescuing  the  Actors  from  the  Imputation  of  Disloyalty  and  Rebellion,  with  which  they 
were  charged  in  a  Letter,  &*c.  .  .  (London,  1681);   this  may  be  found  on  p.  114  of  a  volume  of 
tracts  in  the  Brit.  Mus.  \T.  2.  *(28)]. 

4  A  Modest  Apology,  p.  10. 

6  Ibid.,  p.  8.    On  p.  12,  the  explosion  of  the  Pope's  effigy  is  recounted;  and  the  rest  of  the 
letter  is  taken  up  with  the  account  of  the  arrest  of  the  students  and  of  their  defence. 


SURVIVALS  AND  REVIVALS  175 

friars,  Jesuits,  Cardinals,  and  the  Pope,  all  of  which — with  the  exception  of 
Godfrey —  were  to  be  burned  at  Temple  Bar,  "  according  to  the  old  laudable 
custom."  l  With  the  effigies  were  several  painted  "  pieces  "  and  fireworks. 
North  2  describes  the  Pope-burning  of  1682,  at  which  the  statue  of  Elizabeth, 
"  in  the  Nich  of  Temple-Bar  "  was  "  set  out  like  an  Heathen  Idol." 

As  late  as  1711,  the  17  November  was  to  have  been  celebrated  by  a  Pope- 
burning;  but  the  government  seized  the  images,  on  which  the  Whigs  had  "  laid 
out  "  £iooo.3  The  processions  lasted  on  this  side  of  the  Atlantic  much  longer. 
A  ballad  entitled  Plot  upon  Plot 4  contains  a  notice  of  these  political  processions : 

"  You  for  your  Bonefires  Hawkins  drest 
On  good  Queen  Bess's  Day, 
Whereby  much  Treason  was  express'd, 
As  all  true  Churchmen  say, 

Against  the  Demi  and  the  Pope, 

The  French  our  new  Allie, 

And  Perkin  too,  that  Youth  of  Hope, 

On  whom  we  all  rely." 

With  the  beginning  of  the  eighteenth  century,  these  processions,  having  no 
civic  ties  (as  had  the  Lord  Mayor's  Shows)  passed  from  existence.  Since  then 
whatever  political  pageantry  there  has  been,  in  England,  has  been  incorporated 
with  civic  shows,  or  with  such  "  occasional  "  pageants  as  we  have  examined 
here. 


1  On  this,  see  The  Procession,  &c.,  recorded  in  the  Bibliography,  s.v.  POPE-BURNING. 
(This  is  no.  8  in  the  Tracts  Relating  to  the  Popish  Plot,  and  is  also  in  the  Bodl.    (Gough,  Midds. 
32-) 

2  Examen,  pp.  577  f. 

3  Swift,  Journal  to  Stella,  letter  xxxv  (17  November,  1711).    See  Scott's  Swift  (19  vols., 
Edinburgh,  1814),  ii,  pp.  409,  410.    Cf.  Political  Merriment  (1714),  pp.  207  f.  for  a  song  ("  to 
the  Tune  of  Bonny  Dun-dee  ")  entitled:    "Queen  Elizabeth's  Day:   or,  the  Downfall  of  the 
Devil,  Pope  and  Pretender."    It  is  followed  (p.  212)  by  an  account  of  the  "  Mock  Procession 
of  Burning  the  Pope  and  the  Chevalier  de  St.  George,  intended  to  be  performed  on  the  i7th 
Instant,  being  the  Anniversary  of  Queen  Elizabeth  of  Pious  and  Glorious  Memory."    On 
p.  214  is  an  explanation  by  one  "  Captain  Tom  "  of  the  prevention  of  the  "  annual  Protesta 
tion  procession  due  to  the  memory  of  the  glorious  Queen  Bess  "  scheduled  for  1 7  November, 
1711.    It  was  intended  to  include  in  this  a  figure  of  the  Cardinal  Gualteri,  various  Friars, 
Jesuits,  and  Cardinals;   and  the  Pope,  "  accompany 'd  by  the  Chevalier  St.  George  on  the 
Left,  and  his  Counsellor  the  Devil  on  his  Right."    Also  various  link-men,  watchmen,  bag 
pipes,  &c.,  &c.    The  effigies  were  to  have  been  burned  in  front  of  Elizabeth's  statue  at  Temple 
Bar.    "  After  the  proper  Ditties  were  sung,  the  Pretender  was  to  have  been  committed  to 
the  Flames,  being  first  absolv'd  by  the  Cardinal  Gualteri.    After  that,  the  said  Cardinal  was 
to  be  absolv'd  by  the  Pope,  and  burnt.    And  then  the  Devil  was  to  jump  into  the  Flames 
with  his  Holiness  in  his  Arms.  .  ." 

4  Which   is  preserved   in   Political  Merriment   (1714)  p.  82.     (See   Bibliography,  s.v. 
BRINSDEN  [BM.  238.  g.  45]).    (I  may  note  that  the  ballad  contains  an  interesting  allusion 
to  Dean  Swift.) 


176  ENGLISH  PAGEANTRY 

"  POPE-BURNINGS  "   IN  NEW  ENGLAND 

Much  resembling  these  "  Pope-burnings  "  of  London,  were  the  eighteenth- 
century  processions  at  Boston,  Massachusetts,  in  which  effigies  of  the  Pope 
and  Devil  were  carried  through  the  streets  of  the  city,  and  then  burned.1  There 
is  little  doubt  that  these  processions  were  connected  with  those  of  England: 
they  seem  to  have  lasted  in  some  parts  of  New  England  until  recent  times, 
though  the  origins  were  forgotten,  the  customs  changed,  and  the  name  corrupted 
almost  beyond  recognition. 

In  1752,  the  General  Court  of  Massachusetts  enacted  "  that  if  any  Persons 
to  the  Number  of  three  or  more,  between  Sun-setting  and  Sun-rising,  being 
assembled  together  in  any  of  the  Streets  or  Lanes  of  any  town  within  this  Prov 
ince,  shall  have  any  kind  of  Imagery  or  Pageantry  for  a  Publick  Shew,  altho' 
none  of  the  Company  so  assembled  shall  be  arm'd  or  disguis'd,  or  exact,  demand 
or  ask  any  Money  or  Thing  of  Value,  every  Person  being  of  such  Company  shall 
forfeit  and  pay  the  Sum  of  forty  Shillings  or  suffer  imprisonment  not  exceeding 
one  Month,  or  if  the  offender  shall  be  a  Negro  Servant,  in  Lieu  of  the  Imprison 
ment  he  may  be  whip'd  not  exceeding  ten  Stripes,  at  the  Discretion  of  the  Justice 
before  whom  the  Trial  shall  be.2 

This  act  was  passed  because  "  many  and  great  disorders  have  of  late  years 
been  committed  by  tumultuous  companies  of  men,  children  and  negroes  carry 
ing  about  with  them  Pageants  and  other  shews  through  the  streets  ...  of  Boston 
.  .  .  and  besides  the  horrid  profaneness,  Impiety  and  other  gross  Immoralities 
usually  found  in  such  Companies  a  Person  has  lately  been  killed  when  orderly 
walking  in  the  streets  .  .  .  and  the  aforesaid  practices  have  been  found  by  ex 
perience  to  encourage  and  cultivate  a  mobbish  Temper  and  Spirit  in  many  of 
the  Inhabitants,  and  an  Opposition  to  all  Government  and  Order."  3 

Before  1752,  both  the  North  and  South  Ends  of  the  town  had  their  effigies; 
the  marchers  would  meet  and  fight,  the  victors  burning  not  only  their  own 
"pageants,"  but  also  those  of  the  vanquished  foe.  In  1763,  these  processions 


1  Publ.  Col.  Soc.  Mass.,  xii,  pp.  288  f.    I  am  indebted  to  Professor  Kittredge  for  this  refer 
ence.   Mr.  Cunningham,  in  his  paper  on  the  Diary  of  the  Rev.  Samuel  Checkley,  there  printed, 
further  says  that  "  Pope  Night "  was  celebrated  at  Portsmouth,  New  Hampshire,  as  late  as 
1892 ;  but  that  through  a  loss  of  the  images,  and  changes  in  the  customs,  the  origins  had  been 
forgotten,  and  the  name  corrupted  to  "  Pork  Night." 

2  Massachusetts  Laws,  26  George  II,  chap.  6.     (Boston,  1755-62,  p.  104.)    I  am  indebted 
to  Professor  Kittredge  for  this  reference. 

Because  bonfires  had  been  sometimes  kindled  in  the  streets  and  lanes  of  several  towns, 
an  act  was  passed  making  the  building  of  bonfires  in  a  street  or  lane,  or  within  ten  rods  of 
any  house  or  building,  punishable  by  the  same  fine  of  forty  shillings,  or  imprisonment.  This 
act  was  to  run  for  three  years,  and  in  1758  was  continued  to  i  April,  1763,  (ibid.,  p.  348). 

3  Temporary  Acts  and  Laws  of  his  Majesty's  Province  of  the  Massachusetts  Bay  (1736-1774), 
(Boston,  1763-74),  p.  83;  cf.  ibid.,  (1736-1762),  (Boston,  1755-62). 


SURVIVALS  AND  REVIVALS  177 

were  revived;  but  the  accident  of  1764,  when  a  boy  was  killed,  united  the  two 
processions,  and  the  fights  ended.  In  1765,  a  Stamp-man  joined  the  Devil  and 
the  Pope ;  and  just  before  the  Revolution,  effigies  of  unpopular  officers  —  such 
as  Governor  Hutchinson  and  General  Gage  —  were  added.1 

I  am  indebted  to  Mr.  Albert  Matthews  for  the  following  information  concern 
ing  early  American  pageantry.  There  was  a  procession  of  trades  in  Boston  on 
24  October,  1789,  in  honor  of  Washington's  third  and  last  visit  to  this  town;2 
and  the  word  pageantry  was  used  in  describing  the  Stamp  Act  riots  which  took 
place  in  Boston  on  14  August,  1765.  Early  that  morning  were  discovered  hang 
ing  from  a  tree 

two  Effigies,  one  of  which  by  the  Labels  appeared  to  be  designed  to  represent  a  Stamp-Officer 
[Andrew  Oliver,  Secretary  of  the  Province],  the  other  a  Jack-Boot,  with  a  Head  and  Horns 
peeping  out  of  the  Top,  said  by  some  of  the  Printers,  to  be  the  Devil  or  his  Imp;  but,  as  we 
are  not  acquainted  with  that  Species  of  Gentleman,  we  cannot  so  well  determine  whether  it 
was  an  exact  Resemblance  or  not;  .  .  .  The  Report  of  these  Images  soon  spread  through  the 
Town,  .  .  .  About  Dusk  the  Images  were  taken  down,  placed  on  a  Bier,  (not  covered  with  a 
Sheet,  except  the  Sheet  of  Paper  which  bore  the  Inscription,)  supported  hi  Procession  by  six 
Men,  followed  by  a  great  Concourse  of  People,  some  of  the  highest  Reputation,  and  in  the 
greatest  Order,  ecchoing  forth  Liberty  and  Property!  No  Stamp!  &c  —  Having  passed 
through  the  Town-House,  they  proceeded  with  their  Pageantry  down  Kingstreet,  ...  to  the 
top  of  Fort-Hill;  where  a  fire  was  soon  kindled,  in  which  one  of  them  was  burnt;  we  can't 
learn  whether  they  committed  the  other  to  the  Flames,  or  if  they  did,  whether  it  did  not  sur 
vive  the  Conflagration,  being  its  said  like  the  Salamander  conversant  with  that  Element.3 

Another  prohibition  was  made  in  1797,  when,  on  10  March,  An  Act  for  keep 
ing  Watches  and  Wards  in  towns,  and  for  preventing  disorders  in  streets  and  public 
places  was  passed;  the  ninth  section  of  the  act  reads:  "  Be  it  further  enacted, 
That  if  any  three  or  more  persons  . . .  shall  assemble  together,  having  any  imagery 
or  pageantry  as  a  public  shew,  .  .  .  shall  .  .  .  demand  or  ask  any  money,  .  .  . 
every  person  .  .  .  shall,  for  each  offence,  forfeit  and  pay  eight  dollars,  or  be  im 
prisoned  not  exceeding  one  month."  4 


1  See  Cunningham,  in  Publ.  Col.  Soc.  Mass,  for  March,  1909  —  the  article  cited  above. 

It  is  interesting  to  compare  the  Devil  in  these  processions  with  those  of  the  sixteenth- 
century  Lord  Mayor's  Show  (see  above,  p.  i4f.).  It  is,  however,  probably  not  connected  with 
that  figure,  being  rather  a  copy  of  the  political  Devil  who  accompanied  the  Pope  in  the  London 
processions  we  have  just  been  considering. 

2  Mr.  Matthews  refers  to  the  description  of  this  in  the  Massachusetts  Centinel  of  28  October 
[1789]  xii,  51/3. 

3  Boston  News  Letter,  22  August,  1765,  p.  2/2.    It  is  to  be  noted  how  discreetly  the  re 
porter  conveys  the  information  that  the  Stamp-Officer's  effigy  was  that  burnt.    No  treason 
is  obvious  here. 

4  Laws  of  the  Commonwealth  of  Massachusetts,  passed  at  several  Sessions  of  the  General 
Court  H olden  in  Boston,  iii,  (n.  d.),  pp.  99-101.     (The  ninth  section  is  on  p.  101.)     For  this 
reference,  I  am  indebted  to  Mr.  Albert  Matthews,  who  sent  the  information  in  a  letter  to 
Professor  Kittredge. 


178  ENGLISH  PAGEANTRY 

REMARKS  ON  EFFIGIES,  ILLUMINATIONS,  AND  PAGEANTIC  FIREWORKS 

The  burning  and  flogging  of  effigies  1  suggest  the  popular  superstition  which 
plays  such  a  large  part  in  Rossetti's  ballad  of  Sister  Helen:  this  may  be  another 
development  of  the  folk-custom  which  apparently  lies  behind  the  effigy  and  saint's 
image,  if  these  come  from  the  giant,  which  seems  to  have  been  a  substitute  for 
the  human  sacrifice.  The  bonfires  become  pageantic,  when  the  figures  burnt 
have  a  significance,  and  if  the  emotion  expressed  appeals  to  the  witnessing  crowd. 
The  silent  figures  in  a  Lord  Mayor's  pageant  appear  to  have  foreshadowed  the 
tableau  vivant,  which,  in  turn,  led  to  such  "  illuminations  "  as  that  which  cele 
brated  Admiral  Vernon's  victory  at  Portobello,  on  12  November,  1740 — the 
Admiral's  birthday.  Mr.  J.  G.  Nichols  '2  records  a  "  pageant,"  with  bonfires 
and  illuminations,  "  representing  Admiral  Vernon  and  a  Spaniard  on  his  knee, 
offering  him  a  sword;  a  view  of  Porto  Bello,  &c."  3  This  seems  to  have  been 
a  painting,  or  perhaps,  a  feu  d'artifice.  The  celebration  of  Vernon's  birthday 
seems  to  have  been  widespread,  4  and  to  have  consisted  chiefly  of  bonfires  and 
illuminations. 

An  example  of  what  might  easily  have  become  pageantic  feux  d'artifice,  I 
quote  from  a  family  letter,  written  from  Newport,  Rhode  Island,  in  July,  1881: 

1  Cf.,  for  further  remarks  on  this  subject,  vol.  i,  p.  10,  n.  5;  p.  16;  p.  51,  n.  2;  p.  56,  n.  3 ; 
p.  229  (the  1606  burning  of  the  Deadly  Sins)  and  p.  241. 

2  Lond.  Pag.,  p.  120,  n.  2. 

3  He  adds:   "  It  will  from  this  be  perceived  that  the  modern  successors  of  Pageants  are 
the  transparencies  exhibited  on  nights  of  Illumination."    What  he  means  is,  that  the  feux 
d'artifice  (of  which  we  have  already  made  mention  —  see  above,  vol.  i,  p.  240  f.)  developed 
from  pageantry;   the  "  successors  "  of  the  pageant  are,  of  course,  the  "  floats  "  of  our  own 
processions. 

4  See  the  London  Evening  Post,  from  Saturday,  i  November  to  Tuesday,  4  November, 
1740  (no.  2023)  which  contains  an  account  of  the  celebration,  in  the  "  Extract  of  a  Letter  from 
Bath,  Saturday,  Nov.  i."    Effigies  of  Don  Blass  were  burnt,  "  which  afforded  great  Diversion 
to  the  Populace,  among  whom  were  generously  bestow'd  several  Hogsheads  of  strong  Beer  ..." 
At  London  and  Lewisham,  in  Kent,  the  celebrations  took  the  form  of  illuminations;   bells 
were  rung,  bonfires  were  lighted,  and  fireworks  set  off.    Warwick  also  celebrated  the  occasion 
(see  ibid.,  from  4  Nov.  to  6  Nov.  —  no.  2026)  in  much  the  same  manner;   Essex  and  Peter 
borough  celebrated  later. 

[On  the  possibility  of  God  Save  the  King  having  been  first  sung  by  Henry  Carey  this  year 
(1740)  in  a  tavern  on  Cornhill,  at  a  dinner  given  to  celebrate  Admiral  Vernon's  victory  at 
Portobello,  see  W.  H.  Cummings,  in  the  Musical  Times  for  July,  1878  (vol.  xix),  p.  379. 
Mr.  Cummings  does  not  consider  the  evidence  that  Carey  composed  this  song,  reliable.  We 
may  refer  to  a  letter,  reprinted  from  the  St.  James's  Chronicle  by  the  London  Magazine  for 
November,  1761  (vol.  xxx,  pp.  597-601)  in  which  the  writer  describes  the  banquet  following 
the  Lord  Mayor's  Show  of  that  year,  at  which  "  the  latter  part  of  Mr.  Handell's  coronation 
anthem,  God  Save  the  King,  &c."  was  played  while  the  mayor  drank  the  king's  health.  On 
p.  608  of  the  same  issue,  the  speech  of  the  Christ's  Hospital  boy  to  the  king  is  printed;  at  the 
end  of  the  speech,  "  the  boys  in  a  grand  chorus  chanted,  God  save  the  King.  Amen."] 


SURVIVALS  AND  REVIVALS  179 

"  The  latest  novelty  is  '  day  fireworks  '  .  .  .  At  the  Casino,  four  mortars  were 
placed  in  the  ground,  in  an  upright  position.  They  threw  bombs  seven  hundred 
feet  into  the  air,  where  they  exploded,  showering  paper  balloons  of  various  colors; 
gorgeous,  air-filled  men  and  women,  butterflies  and  fish,  some  of  which  floated 
far  away,  while  others  came  near  enough  for  the  boys  to  catch.  At  the  same  time, 
other  bombs  would  explode  into  beautiful  cloud-like  figures,  more  resembling 
airy  devil-fish  against  the  clear  blue  of  the  sky,  than  anything  else  I  can  think 
of."  Had  these  figures  been  given  a  significance,  we  might  consider  them  related 
to  such  inanimate  pageantry  as  the  images  which  "  did  rise  by  a  vice  "  in  I522,1 
or  the  painted  Worthies  of  1554?  And  these  are  not  unlike  the  images  of  the 
Deadly  Sins,  burned  (as  part  of  the  entertainment)  in  i6o6,3  or  the  various 
tableaux  suggested  in  the  Advis  Necessaires  pour  la  Conduite  des  Feux  d' Artifice 
of  i66o.4  From  these  to  effigies  which  were  burned  as  a  spectacle  for  the  enter 
tainment  of  a  crowd  out  of  sympathy  with  the  ideas  held  by  the  person  repre 
sented,  is  but  a  step. 

GUY  FAWKES'  DAY  AFTER  THE  WAR  —  EFFIGIES  NAMED 

That  dying  customs  have  not  been  killed  completely  by  the  war,  is  shown  by 
the  following  paragraph  concerning  Guy  Fawkes'  Day: 5 

During  the  war,  Guy  Fawkes  Day  was  a  suspended  festival.  Regulations  bound  up  with 
national  defence  made  a  discharge  of  a  squib  or  the  soaring  of  a  rocket  a  serious  offense. 
Tradition  this  year  was  restored  to  its  proper  place,  and  young  people,  paying  little  heed  to 
the  chill,  damp  air,  built  their  bonfires,  exploded  their  crackers,  and  burned  their  effigies  with 
old-time  enthusiasm.  Fireworks  were  dearer  than  in  1914,  but  purchases  had  been  heavy, 
and  the  smell  of  gunpowder  was  pungent  in  many  suburbs  of  London  in  the  later  hours  of 
the  day. 

The  choice  of  a  subject  for  last  week's  effigy  was  curious.  A  year  ago,  the  Kaiser  would 
have  been  the  children's  selection  for  their  Guy  Fawkes  Day  figure,  but  the  Kaiser  seems  to 
have  been  forgotten.  Youngsters  exhorted  pedestrians  in  the  streets  "  to  remember  the  guy," 
but,  where  their  processions  escorted  a  scarecrow  dummy,  in  three  cases  out  of  four  the  effigy 
in  the  chair  was  labelled  "  Pussyfoot."  6 

It  was  a  matter  for  comment  and  for  reflection  on  the  high  price  of  clothes  that  some  of 
the  effigies  chaired  through  the  streets  were  not  life-like  in  size,  and  that  in  more  than  one 
instance  "  Pussyfoot "  was  a  doll,  camouflaged  for  the  occasion,  and  probably  guaranteed 
against  a  fiery  destruction  later  in  the  day. 

Effigies  have  long  been  burned  on  this  anniversary,  but  they  have  a  political 
significance  rather  than  a  folk  origin.  There  is,  however,  a  possible  connection 
between  such  a  mode  of  showing  one's  displeasure  and  the  old  belief  expressed  in 
Rossetti's  Sister  Helen,  though  the  connection  has  doubtless  long  been  forgotten. 

1  See  above,  vol.  i,  p.  177.  3  See  above,  vol.  i,  p.  229. 

2  See  above,  vol.  i,  p.  191.  *  See  above,  vol.  i,  p.  240  f. 

5  London  Times  —  weekly  edition,  14  November,  1919,  p.  1065,  col.  3. 

6  The  nickname  of  an  American  agent  of  the  Anti-Saloon  League,  at  the  time  in  England. 


l8o  ENGLISH  PAGEANTRY 

THE  ORANGE  PROCESSIONS  OF  IRELAND 

As  an  example  of  modern  political  pageantry,  we  may  glance  at  the  Orange 
Processions  of  Ireland.  The  Orange  Order  was  founded  in  1795,  after  the  Battle 
of  the  Diamond,1  and  the  following  year  saw  the  first  Twelfth  of  July  Procession. 
"  The  Anti-Procession  Act,"  continues  Mr.  Mac  Arthur,  "  long  ago  imprisoned 
men  for  taking  part  in  these  July  Processions,  but  of  course  this  law  has  long 
since  been  repealed." 

The  anniversary  of  the  Battle  of  the  Boyne  was  celebrated  by  means  of  pro 
cessions  at  various  places  during  the  nineteenth  century;  and  these  occasions 
served  to  keep  alive  the  memory  of  past  glories,  as  well  as  to  strengthen  Protes 
tantism  and  political  solidarity  in  the  northern  counties  of  Ireland.2  In  July, 
1914  —  less  than  a  month  before  the  beginning  of  the  Great  War,  when  it 
appeared  as  if  England  were  facing  a  civil  strife,  which  the  European  conflict 
averted  —  monster  processions  were  held  in  various  Orange  districts.  I  shall 
here  confine  myself  to  that  which,  headed  by  the  Unionist  leader  Sir  Edward 
Carson,  marched  from  Belfast  to  Drumbeg,  where  an  enthusiastic  meeting  was 
held.3 

The  city  of  Belfast  was  decorated  with  flags  and  triumphal  arches,  with  pic 
tures  of  King  William  crossing  the  Boyne,  Sir  Edward  Carson,  and  other  his- 


1  My  authority  is  a  letter  of  Mr.  William  MacArthur,  of  Dublin,  from  whom  I  have  re 
ceived  much  information.    He  refers  to  The  Select  Parliamentary  Report  on  Irish  Orangeism 
(1835)  which  I  have  not  been  able  to  see.    Mr.  James  Davidson,  writing  from  the  Grand 
Secretary's  office  of  the  Grand  Lodge  of  Ireland,  refers  to  the  investigation  at  Castlewellan 
in  1849  —  in  connection  with  an  Orange  Procession,  attacked  at  Dolly's  Brae  —  which  is 
treated  by  Richard  Niven,  in  Orangeism  as  it  was  and  is.    He  adds  a  reference  to  the  report 
of  the  special  committee  of  the  Grand  Orange  Lodge,  appointed  to  inquire  into  the  matter, 
as  well  as  to  Sir  W.  Verner,  A  Short  History  of  the  Battle  of  the  Diamond  (London,  1863)  neither 
of  which  have  I  had  an  opportunity  to  examine. 

2  Cf.  Niven,  Orangeism,  p.  19:   "  Although  it  may  be  admitted  on  the  part  of  any  candid 
enquirer  that  the  Orange  Institution  was  justifiable  and  necessary,  yet  many,  both  those  who 
are  friendly  to  the  Institution  and  those  who  are  otherwise,  think  that  the  annual  procession 
which  takes  place  each  isth  of  July  is  in  itself  a  cause  for  provoking  angry  collisions  and  keep 
ing  up  an  animosity  that  were  better  allayed.    It  may  be  so,  still  I  think  that  the  Orangemen 
are  not  to  be  blamed  in  the  matter.     They  only  perpetuate  a  memorable  epoch  in  the  history 
of  our  country  which  gave  to  all  the  inhabitants  of  the  British  Islands  civil  and  religious 
liberty.    Besides,  before  1795  far  more  angry  collisions  occurred  between  the  two  parties.  .  ." 

3  Full  details  of  various  Orange  processions  of  July,  1914,  may  be  found  in  the  Belfast 
Weekly  News  for  Thursday,  16  July,  1914,  which  is  my  authority  for  the  following  remarks. 
Cf.  also  the  London  Daily  Sketch  of  14  July,  1914,  for  illustrations  of  the  celebration  which 
—  the  1 2th  being  Sunday  —  this  year  took  place  on  the  13th.    "  Today's  procession  was  the 
first  in  which  Unionists  took  as  great  a  part  as  Orangemen,"  records  this  journal  (p.  5).    And 
again:   "  In  other  years  '  the  Twelfth  '  has  been  a  festival.    To-day  it  is  a  ceremony  which 
combined  a  celebration  of  the  past  with  a  declaration  of  duty  for  the  future."     (Ibid.,  loc.  cit.) 


SURVIVALS  AND  REVIVALS  181 

torical  figures,  living  and  dead.  Such  inscriptions  as,  "  We  prefer  death  rather 
than  submit  to  Pope  and  Popery,"  "  Ulstermen  refuse  to  be  sold  by  Asquith 
&  Co.  to  the  rebels  of  College  Green,"  and  "  No  Surrender  and  No  Home  Rule," 
were  in  prominent  positions. 

The  only  pageantic  feature  of  the  procession  —  and  that  was  the  most  ele 
mentary  of  pageantry  —  were  the  banners  which  pictured  historical  scenes  con 
nected  with  the  past  of  Protestantism. 

The  banners  furnished  a  fine  splash  of  colour,  and  in  the  brilliant,  and  broiling,  sunshine 
which  prevailed  they  were  seen  to  excellent  advantage.  The  designs  symbolise  the  ideals  and 
achievements  of  Protestantism.  The  picture  of  Queen  Victoria  presenting  a  copy  of  the  Bible 
to  one  of  her  Indian  subjects  and  telling  him  that  it  is  the  secret  of  England's  greatness  is  one 
of  the  most  popular  subjects.  Other  designs  relate  to  various  phases  in  the  life  of  Martin 
Luther,  the  burning  of  Latimer  and  Ridley,  with  the  injunction  of  the  former  to  his  fellow- 
martyr  —  "  Be  of  good  comfort,  Master  Ridley,  and  play  the  man  ";  the  landing  of  William 
at  Torbay  and  Carrickfergus;  the  breaking  of  the  boom  by  the  Mountjoy;  and  the  signing 
of  the  Ulster  Covenant  in  the  Belfast  City  Hall  two  years  ago.  The  memory  of  many  men 
—  now,  alas!  no  more  —  who  served  their  day  and  generation  faithfully  is  honoured  in  the 
Orange  Institution,  as  the  portraits  on  many  of  the  banners  show.  Amongst  those  commemo 
rated  in  this  way  are  the  late  Marquis  of  Salisbury,  Lord  Beaconsfield,  Colonel  Saunderson, 
M.P.;  Sir  Daniel  Dixon,  Bart.,  M.P.;  Sir  Edward  J.  Harland,  Bart.,  M.P.;  Sir  James  Haslett, 
M.P.;  Sir  James  Henderson,  D.L.;  Mr.  R.  J.  M'Mordie,  M.P.;  Mr.  William  Johnston,  M.P.; 
Rev.  Dr.  Kane,  Rev.  Dr.  Cooke,  Rev.  S.  M'Comb,  and  Mr.  W.  S.  Baird,  J.P.  On  the  top  of 
one  flagpole  a  very  neat  model  of  the  Mountjoy  was  placed.  The  Union  Jack  was  prominent, 
and  no  patriotic  emblem  could  have  been  more  appropriate  at  this  juncture.  Nearly  every 
body  one  met  with  on  Monday  wore  an  Orange  lily  as  a  buttonhole,  and  the  banner  poles  and 
drums  which  were  carried  in  the  procession  were  decorated  with  bunches  of  that  much- 
esteemed  flower. 

During  the  three  or  four  weeks  preceding  "  The  Twelfth  "  it  is  customary  for  many 
lodges  to  purchase  new  banners,  and  this  year  the  number  unfurled  was,  if  anything,  above 
the  average.  Amongst  the  new  banners  borne  on  Monday's  procession  were  the  following: .  . 
life-size  portrait  of  William  III,  in  armour,  with  inscription  "  In  glorious  and  immortal 
memory,"  in  background  scene  representing  the  Battle  of  the  Boyne,  and  medallions  in  four 
corners  with  portraits  of  Dr.  Cooke,  Dr.  Kane,  Mr.  Wm.  Johnston,  and  Colonel  Saunderson; 
reverse  side,  life-size  portrait  of  Oliver  Cromwell  in  armour,  with  inscription  "  Trust  in  God 
and  keep  your  powder  dry,"  scene  in  background  representing  ships  of  the  British  fleet,  with 
portraits  as  on  obverse  side.  .  .  Portrait  of  the  late  Br.  John  Forsythe,  and  a  representation 
of  Castlereagh  Presbyterian  Church.  .  .  Landing  of  William  III.  at  Torbay.  and  "  The  secret 
of  England's  greatness.";  .  .  .  representation  of  the  Battle  of  the  Boyne  in  gold,  five-pointed 
star.  .  .  King  William  III.  and  the  Relief  of  Derry;  .  .  .  William  III.  on  horse,  and  the  sign 
ing  of  the  Ulster  Covenant  at  the  City  Hall;  .  .  .  King  William  III.  on  horse,  and  representa 
tion  of  Britannia,  with  warship  in  the  background; . . .  Ruth  and  Naomi,  representing  Ulster's 
appeal  to  England,  with  motto,  "  In  treat  me  not  to  leave  thee,"  reverse  side  shield  set  with 
diamonds,  and  representation  of  King  William  III;  .  .  .  William  III.  crossing  the  Boyne,  sur 
rounded  with  orange  lilies,  with  mottoes  "  Civil  and  Religious  Liberty,"  "  Aughrim,  Derry, 
Boyne;  "  above  portraits  of  the  late  Prince  Albert  and  Queen  Victoria,  a  portrait  of  the  late 
Mr.  R.  J.  M'Mordie,  M.P.,  Lord  Mayor  of  Belfast,  surmounted  with  crossed  Union  Jacks 
and  rose,  thistle,  and  shamrock;  portraits  above  of  Mr.  Geo.  S.  Clark  and  Sir  Edward  Carson. 


1 82  ENGLISH  PAGEANTRY 

.  .  .  Life-size  portrait  of  late  Field-Marshal  Sir  George  White,  V.C.,  with  inscription,  "  Thank 
God,  we  have  kept  the  old  flag  flying."  .  .  . 

The  size  of  the  procession  may  be  judged  from  the  fact  that,  although  a  fairly  good  pace 
was  kept  on  the  march,  the  brethren  occupied  over  two  hours  in  passing  a  given  point.1 

Here  we  have  the  "  ghost  "  of  pageantry;  mere  shadows  of  such  historical 
events  as  were  often  reproduced  by  figures  on  moving  cars.  The  "  body  "  of 
pageantry  is  absent;  the  "  spirit  "  is  only  suggested —  yet  the  past  is  recalled 
and  used  as  a  spur  to  encourage  the  present.  It  is  useless  to  multiply  examples 
of  this  kind  of  procession ;  we  mention  the  type  merely  because  it  is  of  interest 
to  see  what  lies  on  the  outskirts  of  this  form  of  art —  itself  (until  the  Parkerian 
pageant)  on  the  outskirts  of  the  drama. 


§  5.    PAGEANTIC  TOURNAMENTS  OF  MODERN  DAYS 

This  chapter  would  not  be  complete  without  some  mention  of  the  chivalric 
revivals  of  the  nineteenth  century;  and,  as  tournament  has  played  its  part  not 
only  in  the  development  of  the  masque,  but  also  —  though  more  indirectly  — 
of  the  early  pageant,  it  is  only  just  to  note  the  influence  of  the  pageant  on  the 
later  revivals  of  the  tournament.  One  of  the  most  famous,  as  well  as  the  earliest, 
of  these  revivals  was  that  at  Eglinton,  or  Eglintown,  Castle,  Ayrshire,  in  i83Q.2 
Rehearsals  of  the  participants  took  place  every  Tuesday  and  Saturday  at  the 
Eyre  Arms  Tavern  in  St.  John's  Wood,  for  some  time  preceding  the  great  day;3 
but  it  cannot  be  said  that  these  pageanters  were  regarded  with  respect.  "  We 


1  Belfast  Weekly  News  for  16  July,  1914,  p.  5. 

2  See  for  mention  of  this  in  fiction,  Endymion,  by  the  author  of  Lothair  (3  vols.  —  London, 
1880),  ii,  chapters  xxiii  and  xxiv  (pp.  219-250).    Montfort  Castle  is  the  name  which  Disraeli 
gives  to  Eglinton.    Reference  to  the  tournament  is  also  made  by  George  W.  E.  Russell,  in 
Collections  and  Recollections,  chapter  xxxii,  Letter-Writing.     Cf.  also  various  items  in  the 
London  Times,  as  cited. 

Regarding  this  affair,  Mr.  Russell  says  that  Beaconsfield  "  conceding  something  to  the 
requirements  of  art,  ignores  the  fact  that  the  splendid  pageant  was  spoilt  by  rain.  Two 
years'  preparation  and  enormous  expense  were  thrown  away.  A  grand  cavalcade,  in  which 
Prince  Louis  Napoleon  rode  as  one  of  the  knights,  [while  Louis  took  part  in  the  sword  play, 
he  did  not  (unless  under  an  assumed  name)  "  ride  as  one  of  the  knights,"  whose  names  are 
given  in  the  Times  for  31  August,  1839,  p.  3,  col.  4,]  left  Eglinton  Castle  on  the  28th  of  August 
at  two  in  the  afternoon,  with  heralds,  banners,  pursuivants,  the  knight-marshal,  the  jester, 
the  King  of  the  Tournament,  the  Queen  of  Beauty,  and  a  glowing  assemblage  of  knights  and 
ladies,  seneschals,  chamberlains,  esquires,  pages,  and  men-at-arms,  and  took  their  way  in 
procession  to  the  lists,  which  were  overlooked  by  galleries  in  which  nearly  two  thousand 
spectators  were  accomodated;  but  all  the  while  the  rain  came  down  in  bucketfuls,  never 
ceased  while  the  tourney  proceeded,  and  brought  the  proceedings  to  a  premature  and  igno 
minious  close  .  .  .  The  Queen  of  Beauty,  elected  to  that  high  honour  by  unanimous  acclama 
tion,  was  Jane  Sheridan,  Lady  Seymour  .  .  ."  (Op.  cit.y  pp.  316  f.) 

3  See  the  London  Times  for  9  July,  1839,  p.  5,  col.  4;  ibid.,  for  10  July,  p.  5,  col.  5.,  &c. 


SURVIVALS  AND  REVIVALS  183 

believe,"  says  the  reporter  of  the  Times,1  "  next  Saturday  will  ...  be  the  last 
day  of  the  exhibition  of  the  mimic  knights  and  esquires  .  .  .  though  if  these 
doughty  '  men  at  arms  '  are  not  a  little  more  au  fait  when  the  '  tournament '  is 
to  take  place,  they  will  be  miserably  defective  in  their  imitation  of  the  knights 
of  '  olden  times/  '  All  of  the  combatants  "  appeared  in  full  suits  of  armour, 
'  very  grand/  and  almost  as  fierce  as  the  men  in  armour  who  ride  in  the  '  Lord 
Mayor's  Show  '  .  .  .  There  were  no  serious  accidents  yesterday,  and  the  whole 
business  went  off  as  such  things  usually  do,  somewhat  dull  and  altogether  silly. 
There  were  (sic)  a  group  of  attendants  dressed  like  the  buffoons  at  St.  Bar 
tholomew-fair,  who  were  no  doubt  intended  to  represent  the  retainers  of  the 
jousting  knights."  The  exercise  consisted  in  running  at  a  "  dummy  "  knight  — 
"  a  sort  of  iron  scarecrow  "  —  mounted  on  a  wooden  horse,  and  placed  on  small 
truck  wheels  on  an  inclined  plane.  "  '  Dummy,'  however,  proved  in  the  long 
run  the  best  man  of  the  lot,  and  sat  with  imperturbable  patience  whilst  all  the 
chivalry  of  the  Eyre-arms  attacked  him  in  turn.  There  were  many  ladies  present 
whose  bright  eyes  encouraged  the  knights  to  the  contest." 

A  contributor  to  the  Times  3  calls  the  attention  of  Lord  Eglintown  and  "  the 
noblemen  and  gentlemen  who  have  engaged  with  him  "  to  hold  the  tourna 
ment,  that  a  tilt  or  tournament  is  an  unlawful  act,  and  if  a  participant  be  killed, 
"  such  killing  is  felony  of  manslaughter." 

"  Now,"  wrote  the  correspondent,  "  I  beg  leave  to  remind  the  noble  lords  and  gentlemen 
who  seek  to  revive  this  antiquated  and  barbarous  usage,  that  supposing  death  to  ensue  from 
their  sport,  and  that  they  should  be  convicted  of  manslaughter,  '  they  would  be  liable  to  be 
transported  for  life,  or  for  not  less  than  seven  years,  or  to  be  imprisoned  with  or  without  hard 
labour  in  the  gaol  or  house  of  correction,  not  exceeding  four  years,  or  to  be  fined,'  by  stat.  9 
George  IV,  c.  31,  89. . . 

"  I  am  strongly  inclined  to  think,  that  it  is  clear  law  that  '  the  Queen  of  Beauty,'  and  all 
the  noble  dames  and  demoiselles,  who,  as  spectators,  may  be  aiding  and  abetting  at  this 
illegal '  passage  of  arms,'  will  be  guilty  of  a  misdemeanour,  and  liable,  in  consequence,  to  the 
punishment  of  fine  or  imprisonment,  one  or  both." 

Another  communication 4  recalls  that  "  on  the  ceiling  of  the  corridors  in  the 
Townhall  at  Nuremberg  is  a  representation  of  a  tournament,  in  which  all  the 
tilters  are  habited  as  Court  fools.  Allow  me  to  suggest  this  to  the  heroes  of  St. 
John's  Wood,  as  pointing  out  an  appropriate  costume  for  the  approaching  tour 
nament  at  Eglintoun  Castle." 

As  the  time  drew  nearer,  the  encouragement  became  no  greater.  "  The 
Duke  and  Duchess  of  Cambridge  .  .  .  have  finally  declined  the  Earl  of  Eglin- 
town's  invitation  to  be  present  at  the  tournament,  the  eclat  of  which  has  com 
pletely  evaporated;  indeed,  entre  nous,  it  is  expected  to  be  a  very  grand  failure. 


1  10  July,  1839,  p.  5,  col.  5.  2  Ibid.,  loc.  cit. 

3  Whose  letter  in  that  paper,  n  July,  1839,  p.  5,  col.  2,  is  signed  "  no  tilter." 

4  Signed  "  Robin  Hood  "  —  in  the  Times  for  8  August,  1839,  p.  5,  col.  3. 


1 84  ENGLISH  PAGEANTRY 

Lord  Hillsborough  and  one  or  two  champions,  from  whose  prowess  much  '  sport ' 
was  expected,  will  not  be  present;  indeed,  the  authorities  have  given  so  many 
grave  cautions  respecting  a  breach  of  the  peace,  that  the  knights  will  not  be 
allowed  to  '  bethwack '  one  another  in  good  earnest,  even  if  they  had  the  incli 
nation;  so  far  as  tilting  goes,  it  will  be  what  the  ladies  whispered  the  rehearsal 
was —  viz.  '  child's  play.'  As  a  tournament  the  whole  affair  will  be  a  mere  farce, 
but  as  a  pageant l  it  will,  doubtless,  be  very  splendid,  if  it  happens  to  be  fine 
weather:  but  if  it  should  rain,  an  enterprising  speculator  might  realize  some 
thing  handsome  by  forwarding  a  good  supply  of  umbrellas  ...  for  the  use  of  the 
Knights  and  Squires."  2 

A  "  Glasgow  paper,"  quoted  by  the  Times,3  says:  "  while  it  is  requested  that 
ladies  and  gentlemen  will  dress  in  costumes  of  the  i4th  and  i$th  centuries,4  and 
that  farmers  and  others  will  appear  in  Scotch  bonnets  and  plaids,  it  is  announced 
at  the  same  time  that  no  one  will  be  refused  admittance  by  the  regular  approaches. 
The  lists  is  an  enclosure  600  yards  by  250  yards,  with  a  barrier  in  the  centre, 
where  the  combatants  meet,  300  yards  in  length.  There  is  a  grand  pavilion  for 
the  Queen  of  Beauty,  and  the  distinguished  Company  connected  with  the  amuse 
ments;  while  on  each  side  seats  are  erected  to  hold  1,000,  intended  for  the  public, 
who  will  obtain  admission  to  them  by  gratis  tickets.  The  Queen  of  the  Tourna 
ment,  with  her  maids  of  honour  and  body  guards,  composed  of  ladies  . . .  equipped 
as  archers,  and  the  Irvine  Toxophilite  Society,  are  first  in  the  procession;  then 
follow  Lord  Eglintoun  and  the  other  knights,  with  their  esquires  and  retainers. 
To  give  variety  to  the  sports,  12  of  the  Irvine  archers  are  to  compete  at  butt- 
shooting  within  the  lists  .  .  .  The  arrangements  are  on  the  most  costly  and  mag 
nificent  scale  .  .  ." 5 

A  long  letter  from  Eglinton  Castle,  dated  27-28  August,  appeared  in  the 
Times  of  the  3ist; 6  it  gave  an  account  of  the  preparations  for  the  event,  and 
described  the  procession  which  left  the  Castle  in  mid-afternoon,  and  marched 
to  the  lists  in  the  rain.  A  second  letter,  under  date  of  30-31  August,7  relates 


1  I.  e.,  "  spectacle."  2  The  London  Times  for  13  August,  1839,  p.  5,  col.  4. 

3  For  23  August,  1839,  p.  5,  col.  2. 

4  This  suggests  the  "  revel." 

5  The  Times  for  29  August,  1839  (p.  3,  col.  4)  cites  the  Glasgow  Chronicle  and  Constitu 
tional,  which  papers  correct  some  of  the  details  given  above.    The  space  inside  the  lists  is 
650  feet  long  and  250  feet  wide;   the  barrier  is  300  feet  long  and  4  feet  6  inches  high.     The 
"  Queen  of  Love  and  Beauty  ...  it  is  still  said,  is  to  be  the  Lady  Seymour."    The  two  smaller 
stands  are  to  hold  600  each,  and  —  on  account  of  the  immense  number  of  applications  — 
the  Earl  ordered  another  built  to  hold  1,000.    Sixty  or  eighty  thousand  people  could  find 
places  on  the  lawn,  and,  "  if  the  weather  prove  fine,"  the  Constitutional  would  not  be  surprised 
to  see  that  number  present.    "  Never,  since  the  visit  of  George  IV  to  Scotland  in  1822,  has 
anything  taken  place  wherein  the  people  of  Scotland  have  displayed  so  great  an  interest  as 
the  present." 

6  See  p.  3,  col.  3.  7  See  the  Times  for  3  September,  1839,  p.  5,  col.  6. 


SURVIVALS  AND  REVIVALS  185 

how  on  the  29th,  the  weather  forced  a  postponement  of  the  tournament,  and  in 
door  swordplay  —  to  which  the  public  was  not  admitted  —  was  indulged  in. 
Prince  Louis  Napoleon  "  exhibited  considerable  skill  in  the  use  of  his  weapon  " 
on  this  occasion.  On  the  3oth,  promise  of  fine  weather  drew  great  crowds  to 
Eglinton;  by  one  o'clock  in  the  afternoon  over  10,000  were  assembled,  and 
more  continued  to  crowd  in.  About  two  o'clock  the  procession  started  from 
the  Castle;  "  it  was  certainly  a  gorgeous  and  most  splendid  pageant."  There 
was  but  one  slight  accident  in  the  jousting;  and  after  the  tournament  there  was 
riding  at  the  ring  and  the  quintain ;  the  melee  closed  the  labors  of  the  day,  which 
were  followed  by  a  ball.  At  dinner,  "  Lord  Eglintoun  made  a  short  speech  .  .  . 
in  which  he  expressed  his  hopes  that  tournaments  would  become  fashionable 
amongst  the  nobility  and  gentry  of  the  country ;  he  had  shown  that  they  could 
be  revived,  and  that  tilting  could  be  practised  without  danger.  His  lordship's 
address  was  received  with  great  satisfaction  by  his  numerous  guests."  1  It  is 
not  apparent,  however,  that  any  of  them  adopted  his  suggestion,  for  these  festi 
vals  did  not  become  a  common  pastime  of  the  English  gentry. 

At  Ripon,  in  1886,  there  was  tilting  at  the  ring  and  at  the  quintain,  after  the 
play  of  Robin  Hood  and  the  Curtal  Friar;  and  following  this,  was  a  mock  tourna 
ment  between  armed  knights  on  "  armoured  hobbies  "  which  caused  "  much 
merriment."  2  This  may  be  —  like  the  fight  at  Scarva —  an  adaptation  of  an 
old  folk-custom. 

THE  "ELIZABETHAN  TRIUMPH"  OF  1912 

Tournaments  occasionally  appear  in  the  modern  historical  pageant  —  as  we 
shall  see  —  and  it  may  be  under  the  influence  of  these  that  the  "  Elizabethan 
Triumph  "  of  1912  took  shape.3 

"  The  organizers  .  .  .  made  every  effort  to  reproduce  the  full  splendours  of  the  mediaeval 
tournament,  as  practiced  in  the  early  years  of  Queen  Elizabeth.  Ancient  chronicles  and  other 
archives  were  carefully  studied  in  order  to  preserve  historical  accuracy  in  every  detail.  The 
arrangements  were  based  on  the  ordinances  for  the  royal  jousts  drawn  up  for  Edward  IV  by 
John  Tiptoft,  Earl  of  Worcester,  and  ordered  by  Elizabeth  to  be  observed  at  tournaments 
held  in  her  reign.  The  pageant  began  with  the  '  commynge  into  the  Felde  '  of  various  gor 
geous  processions  —  the  Parade  of  the  Knight  Martiall,  the  Parade  of  the  Queen  of  Beauty, 
the  Parade  of  the  Princess  Errant,  the  Parade  of  the  Knights,  and  the  Ballet  des  Chevaux, 
Mr.  F.  R.  Benson,  as  Herald  of  the  Tournament  and  general '  producer,'  aimed  at  represent 
ing  a  tournament  as  it  was  about  1580,  when  jousting  had  become  a  picturesque  pastime  .  .  ." 
The  Ballet  des  Chevaux  was  foUowed  by  the  actual  jousts,  announced  by  the  Herald  in  the 


1  It  was  planned  to  continue  the  tournament  on  the  Saturday  (31  August),  but  the  rain 
descended  in  torrents,  and  the  wind  blew  a  gale,  so  that  the  idea  was  given  up. 

2  See  above,  p.  161.    "  Mock  fights  "  are,  apparently,  not  yet  dead:  cf.  the  "  sham  fight 
at  Scarva,"  below,  p.  186  f.  and  the  American  tournaments  noted  on  p.  286. 

3  This  is  pictured  in  the  Illus.  Land.  News  for  13  July,  1912,  pp.  48  and  49.    The  Vis 
countess  Curzon  was  chosen  Queen  of  Beauty.     (Ibid.,  p.  58.) 


1 86  ENGLISH  PAGEANTRY 

time-honored  form:  "  Oyez!  oyez!  oyez!  Be  it  known,  Lords,  Knights,  and  Esquires, 
Ladyes  and  Gentlewomen:  You  are  hereby  acquainted  that  a  superb  achievement  of  arms 
and  a  grand  and  noble  tournament  will  now  be  held  .  .  .  We  proclaim  that  six  knights  of 
blood  and  of  name  have  great  desire  to  serve  their  ladyes,  and  say  that  they  will  juste  at  the 
tilt  against  all  comers  ..." 

This  is  a  detached  episode,  or  "  interlude,"  of  a  modern  pageant —  such  as 
that  at  Oxford; l  or,  more  exactly,  perhaps,  a  revival  like  that  of  Eglinton,  done 
with  the  historical  accuracy  which  modern  pageant-masters,  following  the  lead  of 
Mr.  Parker,  have  come  to  insist  on.  This  accuracy  was  shown  chiefly  in  matters 
of  costume  —  for  even  the  Elizabethan  "  barrier  "  had  an  element  of  danger 
which  no  one,  of  course,  would  care  to  duplicate. 

THE  "  MOCK  FIGHT  "  AT  SCARVA 

The  "  historic  sham  fight  "  at  Scarva,  of  13  July,  1914,  may  be  the  descendant 
of  some  folk-custom,  to  which  a  political  significance  has  been  given.  I  quote  a 
contemporary  account : 2 

Thousands  of  Loyalists  from  every  corner  of  Ulster  assembled  at  Scarva  to  participate 
in  the  celebrations  connected  with  the  historic  sham  fight.  The  i2th  and  i5th  of  July  are 
recognised  as  the  great  Orange  holidays  of  the  year,  but  there  is  a  seriousness  about  the  cele 
brations  of  the  "  Twelfth  "  which  is  lacking  on  the  day  following.  "  Scarva  Day  "  is  a  day 
set  apart  for  enjoyment  and  recreation,  and  the  little  village  on  the  borders  of  Counties  Down 
and  Armagh,  with  its  memories  and  associations  dear  to  the  hearts  of  Orangemen,  is  the  venue 
each  year  of  a  great  gathering  of  holiday  makers.  Yesterday's  celebrations  were  in  accord 
with  those  of  previous  years,  and  were  carried  out  with  the  utmost  enthusiasm.  From  early 
morning  special  trains  brought  visitors  from  far  and  near,  and  towards  noon  a  dense  mass  of 
people  packed  the  village  and  the  roadway  leading  from  the  station  to  Scarvagh  demesne,  in 
which  the  event  of  the  day  takes  place.  The  procession  of  members  of  the  Royal  Black  Pre- 
ceptories  was  one  of  the  largest  on  record,  and  a  noticeable  feature  of  it  was  the  number  of 
artistic  banners  displayed.  Many  fine  bands  were  in  evidence  .  .  . 

Each  year  the  extensive  and  beautiful  grounds  surrounding  Scarvagh  House,  the  residence 
of  Mr.  Henry  Thomson,  D.L.,  are  thrown  open,  and  in  them  the  sham  fight  is  enacted  .  . 
He  has  .  .  .  with  his  usual  forethought  and  consideration,  made  arrangements  that,  no  matter 
who  may  in  the  future  occupy  Scarvagh  House,  the  privilege  of  holding  the  sham  fight  each 
year  will  be  retained  by  the  Orangemen  .  .  . 

In  the  afternoon  the  rival  armies,  clad  in  orange  and  green  uniforms,  and  armed  with 
muskets  and  blank  ammunition,  were  marshalled  in  front  of  the  house,  and  the  "  fight  "  com 
menced  on  the  terrace,  in  the  presence  of  a  vast  multitude.  After  a  short  encounter  here  for 
the  benefit  of  the  house  party,  an  adjournment  was  made  to  a  large  field  adjoining,  where  the 
battle  proper  was  begun.  For  the  next  half-hour  or  so  nothing  could  be  heard  but  the  roll 
of  musketry,  whilst  from  the  outskirts  of  the  dense  crowd  one  could  catch  an  odd  glimpse  of 
the  waving  plumes  in  the  helmets  of  the  leaders  representing  King  William  and  King  James, 
as  they  engaged  each  other  in  a  sabre  combat.  The  issue  of  the  contest  was  in  doubt  for  some 
time,  first  one  side  seeming  to  prevail,  and  then  the  other,  but  eventually  William  emerged 
victorious,  his  enemies  captive,  and  the  green  flag  hanging  in  ribbons  from  its  standard. 


1  See  below,  p.  222  f.  2  Belfast  Weekly  News  for  16  July,  1914,  p.  12,  col.  8. 


SURVIVALS  AND  REVIVALS  187 

LE  TOURNOI  DE  COMPIEGNE 

In  England  these  tournaments  are  usually  isolated;  an  example  of  a  recur 
ring  tournament  (like  that,  apparently,  at  Scarva)  in  France  is  seen  in  connection 
with  the  festival  at  Compiegne  in  honor  of  Jeanne  d'Arc.1  This  has  pageantic 
features;  it  includes  knights  and  ladies  in  mediaeval  costume,  a  tournament, 
running  at  the  quintain,  and  a  procession.  "  La  noblesse  ici  n'est  pas  simulee, 
car  tous  ces  convives  sont  les  descendants  des  vielles  maisons  dont  ils  portent 
les  armoiries."  2 

It  is  obvious  that  such  shows  must  tend  to  limit  themselves  —  like  the  earlier 
tournament  and  the  masque  —  to  the  court  circle.  Common  folk  have  neither 
the  skill  nor  the  leisure  to  indulge  in  such  sports,  though  the  many  thousand 
spectators  of  the  Eglinton  tournament  indicate  the  interest  of  the  people  in  these 
exhibitions.  The  history  which  is  preserved  in  the  festival  at  Compiegne  tends 
to  lift  it  toward  true  pageantry;  the  lack  of  any  central  figure  or  historical  back 
ground  tends  to  depress  such  tournaments  as  the  1912  "  Elizabethan  Triumph  " 
to  carefully  planned  "  revels." 

"  THE  ROYAL  NAVAL  AND  MILITARY  TOURNAMENT  " 

Somewhat  apart  from  these  purely  artistic  tourneys  stands  the  "  Royal  Naval 
and  Military  Tournament  "  which  has  taken  place  at  London,  practically  with 
out  interruption,  since  its  inception  in  1879,  when  it  was  organized  for  the  benefit 
of  the  military  charities.  Every  year,  for  several  weeks  in  May  and  June,  the 
show  is  held — two  "performances"  are  given  daily — and  various  drills, 
military  sports,  and  other  contests,  for  which  prizes  are  offered,  are  decided. 
The  performers  are,  of  course,  limited  to  one  class  —  the  military  —  but  the 
annual  performances  have  a  wide  popular  appeal.  During  recent  years,  the 
pageantic  element  has  become  more  marked. 

In  1887,  the  taking  of  a  fortress  was  graphically  presented;  in  1888,  a  camp 
was  surprised  and  attacked  —  and  usually  a  picture  of  a  soldier's  duties  in  time 
of  war,  as  well  as  of  his  tasks  in  time  of  peace,  was  part  of  these  army  exhibitions. 
In  1891,  displays  of  fencing  were  given  by  maitres  d'armes  of  the  French  army; 
and  Royal  Engineers  constructed  a  pontoon  bridge  "  across  a  river  of  real  water, 
in  addition  to  the  usual  spar  bridge."  A  Victorian  team  was  this  year  sent  from 
Australia  to  take  part  in  the  "  tournament."  In  1892,  "  representative  instruc 
tors  of  the  Italian  army  "  fenced  with  foil  and  sabre;  Indians  and  Victorians 


1  On  this  see  the  Illus.  Land.  News  for  29  May,  1909,  p.  772,  where  photographs  of  the 
knights  tilting  at  a  barrier,  Joan  entering  the  town  and  riding  through  the  streets,  are  pub 
lished.    Cf.  also  the  Paris  Illustration  for  3  June,  1911,  pp.  464  and  465,  for  pictures  and 
a  description  of  the  show.    "  Nous  sommes  en  plein  quinzieme  siecle  .  .  .    Le  programme  va 
s'executer  suivant  toutes  les  formes  en  usage  au  moyen  age  .  .  ." 

2  L 'Illustration,  loc.  tit. 


1 88  ENGLISH  PAGEANTRY 

took  part  in  1893,  and  a  detachment  of  Danish  army  gymnasts  was  expected, 
but  they  did  not  appear.  The  usual  imitation  of  a  battle  was  given —  the  scene 
of  the  fight  being  the  Fort  of  Gilgit,  taken  some  eighteen  months  before  by  a 
British  colonel;  the  "  hill-men  "  were  British  soldiers,  dressed  up  to  represent 
the  enemy. 

In  1897  —  the  Jubilee  anniversary — were  further  Colonial  representatives, 
"  significant  of  the  Imperial  character  of  the  year."  The  Dyaks  and  their 
savage  dance  formed  a  sharp  contrast  to  the  musical  drill  of  the  Third  Dragoon 
Guards. 

1897  —  AN  ARMY  "  PAGEANT  " 

]t  is  worthy  of  remark  that  the  central  feature  of  this  year's  spectacle  was 
"  The  Pageant:  Our  Army,  1704-1882."  This  is  outlined  in  the  Times:  "  . .  .Dif 
ficult  as  it  is  to  devise  a  new  pageant  for  every  year,  the  organizers  of  1897  may 
be  congratulated  on  producing  one  . . .  never  excelled.  First  the  assembly  looked 
upon  types  of  the  British  Army  as  it  appeared  under  Marlborough's  command 
at  Blenheim,  special  attention  having  been  given  to  selecting  the  regiments 
which  really  were  engaged  .  .  .  From  the  glorious  era  of  Blenheim  we  passed  to 
that  of  Waterloo  .  .  .  Next  came  representatives  of  the  regiments  which  fought 
at  Inkerman  .  . .  And  last  came  the  men  who  fought  and  won  at  Tel-el-Kebir  . .  . 
On  the  whole,  this  was,  and  will  be,  recognized  as  a  pageant  of  the  first  order; 
and  the  charge  of  the  cavalry  of  four  eras  which  ends  it  is  stirring  and  effective."  l 

• 

1910 —  "  BRITANNIA'S  MUSTER  " 

This  "  pageant "  furnishes  an  interesting  parallel  to  the  Army  Pageant  of 
1910  —  which  is  not,  of  course,  a  modern  "  folk-play."  It  is  interesting  to  observe 
that  in  the  latter  year,  the  Tournament  again  became  pageantic.  "  The  Royal 
Naval  and  Military  Tournament  opened  at  Olympia  on  Monday  last  ...  To 
quote  the  official  description :  '  Britannia's  Muster  is  no  mere  pageant.*  It  is 
the  militant  spirit  of  our  Empire  translated  into  flesh  and  blood  .  .  .  India, 
Canada,  Australia  and  South  Africa  grouped  around  Britannia,  with  the  Navy 
and  Army  of  all  our  lands  formed  into  a  square  about  them,  speak  of  the  alle 
giance  of  the  Commonwealths  and  Dominions  and  Empires  of  our  race  to  the 
Mother  Country.'  In  the  photograph  may  be  seen  the  cars  emblematical  of 
India,  Canada,  Britannia,  South  Africa  and  Australia."  3  Where  the  1897  PaS" 


1  The  London  Times  for  27  May,  1897,  p.  6,  col.  6.    The  early  tournaments  were,  for  the 
most  part,  held  at  the  Agricultural-hall  in  Islington;   of  late  years  they  have  been  held  at 
Olympia.    My  information  for  the  above  paragraphs  has  been  gathered  from  contemporary 
issues  of  the  Times;  the  reader  who  is  anxious  to  pursue  the  subject  in  more  detail  is  referred 
to  Palmer's  Index  to  the  TIMES,  under  Military  and  Royal  Military. 

2  That  is,  spectacle. 

3  Illus.  Lond.  News  for  25  June,  1910,  p.  1007. 


SURVIVALS  AND  REVIVALS  189 

eant  was  historic,  this  was  allegorical;  and  the  cars  added  another  pageantic 
element.  After  various  drill  "  events  "  came  the  piece  de  resistance —  the  Muster. 

...  Of  the  various  displays  that  I  have  seen  in  the  arena  of  the  Naval  and  Military  Tour 
nament  this  is  the  most  dignified  and  suggestive  .  .  .  Britannia,  in  the  person  of  a  young  and 
pretty  woman,  mounted  on  a  car,  and  supported  by  a  lion,  is  drawn  into  the  arena  by  a  team 
the  postillions  of  which  are  dressed  in  the  costume  of  '  John  Bull.'  Halted  in  the  centre  of 
the  open,  Britannia's  heralds  summon  with  the  trumpet  the  various  units  that  hold  inviolate 
her  Empire.  First  come  the  representatives  of  the  Home  Military  Forces.  A  car  with  an 
ostrich  and  a  Kaffir  heads  the  columns  of  Colonial  Troops  and  Volunteers  with  whose  names 
the  South  African  War  made  us  familiar.  Then  Australia  answers  call  to  the  arms.  Australia 
has  a  car  with  a  gold-miner  supported  by  a  kangaroo  at  the  head  of  its  contingent.  New 
Zealand  follows  Australia  behind  its  own  flag.  The  demand  upon  Canada  produces  a  car  in 
Arctic  dressing.  It  is  followed  by  a  magnificent  show  of  uniforms.  The  last  demand  that 
Britannia  makes  is  upon  the  Indian  Army.  India  is  represented  by  a  Maharajah  reclining 
in  State  beneath  a  gorgeous  canopy.  He  is  followed  by  18  detachments  in  the  brilliant  uni 
forms  of  the  Indian  Army. 

This  great  muster  is  then  marshalled  in  the  arena  round  these  triumphal  cars.  Then  it  is 
that  the  great  thought  that  underlies  Colonel  Nugent's  conception  breaks  upon  the  spectator. 
This  huge  arena  is  packed  full  .  .  .  with  the  troops  of  our  great  Empire.  Yet  there  are  only 
five  men  from  each  unit.  The  immensity  of  our  resources  flashes  upon  one  .  .  -1 

In  1911,  among  the  usual  famous  visitors  to  the  Tournament,  were  King 
George  V  and  Kaiser  Wilhelm  II  of  Germany.  One  of  the  features  of  this  year's 
spectacle  was  "  A  Frontier  Incident "  -  which  showed  tribesmen  of  North- 
West  India  stealing  rifles,  and  the  punitive  expedition  "  whose  main  feature  is 
the  attack  on  and  assault  of  a  fort."  This  was  not  pageantry;  it  was  rather  a 
scene  of  expository  drama. 

1914 —  A  "  ROMAN  PAGEANT  " 

In  1914,  however,  there  was  a  pageantic  parenthesis  inserted  in  the  exercises 
of  the  Tournament.  This  was  an  "  historical  spectacle  "  which  had  a  flavor  of 
allegory;  it  consisted  of 

a  prologue  and  three  scenes.  In  the  former  a  Roman  tragedian  discourses  pleasantly  through 
a  megaphone  with  the  Spirit  of  Luxury,  and  from  their  dialogue  we  learn,  if  we  are  close 
enough  to  hear,  what  is  about  to  happen.  Scene  i  transports  us  to  Rome  and  before  us  passes 
the  Imperial  Triumph  of  Claudius,  who  has  returned  with  his  victorious  troops  after  the  con 
quest  of  Britain.  The  two  consuls  of  the  year,  lictors,  magistrates,  senators,  models  of  the 
captured  city  of  Colchester  and  of  Stonehenge,  captured  Britons  much  derided  by  the  Im 
perial  buffoon,  the  Emperor,  the  Empress,  the  Court,  and  lastly  the  troops  of  the  victorious 


1  The  London  Times  for  21  June,  1910,  p.  10,  col.  3.  Cf.  ibid.,  col.  2:  "  The  main  object 
of  the  .  .  .  Tournament  is  not  to  acquire  funds  for  the  enrichment  of  naval  and  military  char 
ities  . . .  The  real  object ...  is  to  encourage  skill-at-arms  in  the  Naval  and  Military  Services  .  .  . 
It  is,  therefore,  a  necessary  and  patriotic  institution,  apart  from  the  fact  that  during  the  past 
decade  it  has  handed  over  to  the  authorities  many  thousands  of  pounds  for  distribution 
amongst  deserving  naval  and  military  charities." 


190  ENGLISH  PAGEANTRY 

army,  all  pass  across  the  arena.  In  Scene  2  the  Spirit  of  Luxury,  whose  appearance  and  evi 
dent  appreciation  of  the  good  things  of  this  world  has  caused  him  to  be  regarded  with  much 
favour  by  the  audience,  is  awaked  from  sleep  by  the  opposing  megaphone  and  told  that  300 
years  have  passed,  and  that  he  is  now  on  Hadrian's  wall  in  the  vicinity  of  Brampton. 

The  daily  routine  of  Roman  troops  is  shown,  including  some  very  striking  drill  carried 
out  by  a  century  of  heavy  infantry,  in  which  modern  guardsmen  execute  the  most  compli 
cated  movements  to  Latin  words  of  command.  The  scene  closes  with  an  intimation  that  the 
legions  are  required  in  Germany,  and  a  small  party  is  alone  left  to  guard  the  wall.  Shrieks 
from  terrified  females  now  announce  the  approach  of  vast  barbarian  hordes,  and  the  unhappy 
victim  of  good  living  has  to  fly  for  his  life,  while  a  great  combat  ensues  in  which  the  Roman 
soldiers  fall  gallantly  at  the  post  of  duty  unequal  to  the  rush  of  the  ancestors  of  our  race. 
Space  forbids  a  detailed  description  of  the  armament,  which  has  been  most  accurately  repro 
duced  and  which  by  itself  is  of  sufficient  interest  to  bring  people  to  Olympia;  but  such  pieces 
of  ordnance  as  the  carro-ballista,  the  ballista,  and  the  onager  —  surely  the  first  howitzer  ever 
seen  —  may  be  mentioned  as  showing  the  research  of  the  authors  of  the  spectacle.1 

This  shows  clearly  an  influence  from  the  Parkerian  pageant  in  its  attempt  at 
historical  accuracy.  The  military  character  of  these  displays  is,  of  course,  al 
ways  uppermost;  and  an  example  of  the  adaptation  of  the  older  pageantic 
material  —  cars  and  symbolism  —  to  this  spectacle  is  best  seen  in  Britannia's 
Muster  of  1910.  A  certain  amount  of  historical  instruction  was  furnished  in 
1897;  these  special  celebrations  are  undoubtedly  responsible  for  the  pageantic 
additions  to  a  show  which  lends  itself  readily  to  such  interpolations.  It  can 
hardly  be  doubted  that  these  exhibitions  have  played  their  part  in  developing 
the  Services  for  the  more  serious  work  which  they  were  soon  called  on  to  perform.2 


1  The  London  Times  for  15  May,  1914,  p.  14,  col.  3.    The  arrangement  of  the  scenes 
was  made  by  Lieut.-Colonel  Sir  Mark  Sykes,  M.P.;    special  music  was  composed  for  the 
spectacle  by  Sir  Charles  Stanford. 

See  the  London  Daily  Telegraph  of  10  April,  1914,  p.  n,  col.  3,  for  the  announcement  of 
the  "  notable  departure  in  regard  to  the  chief  spectacle  "  of  the  Tournament.  This  article 
notes  Imogene  and  Cymbeline  among  "  the  captive  royalties  of  the  period,"  and  says  that 
"  the  last  stand  of  the  Romans  will  be  shown  with  the  death  of  Centurion  Ausonius  before 
the  onslaught  of  the  barbarian  king  .  .  .  The  rise  of  the  Anglo-Saxons  to  power  is  indicated 
in  the  final  setting,  which  shows  the  birth  of  a  nation  which  was  destined  to  build  the  greatest 
Empire  since  Rome  ..." 

2  An  additional  feature  of  interest  was  the  appearance,  at  this  1914  "  tournament,"  of  a 
primitive  "tank,"  which,  two  years  later,  perfected,  created  such  havoc  on  the  battlefields  of 
France  and  Belgium.    Had  the  spectators  been  able  to  see  the  future,  the  ungainly  machine, 
looking  not  unlike  a  steam-roller,  which  laboriously  clambered  over  all  sorts  of  obstacles, 
would  not  have  excited  the  thoughtless  laughter  it  provoked. 

There  is  no  reason  to  suppose  that  the  era  of  Peace  will  see  a  diminution  of  interest  in 
these  exercises,  which  are  rendered  none  the  less  effective  by  the  introduction  of  a  pageantic 
element. 


SURVIVALS  AND  REVIVALS  191 

§  6.    CHRISTINA  ROSSETTI'S  "  PAGEANT  OF  THE  MONTHS  " 

As  an  example  of  the  kind  of  thing  called  "  pageant,"  without  having  any 
right  to  the  name,  let  us  consider  Christina  Rossetti's  Pageant  of  the  Months.1 
The  foundation  of  this  composition  is  the  dance,  and  poetic  song  is  the  super 
structure.  The  scene — a  cottage  with  its  grounds  —  remains  unchanged 
throughout  the  act.  Symbolism  plays  a  considerable  part  in  the  poem  —  but 
that  alone  does  not,  of  course,  make  a  pageant;  nor  does  the  personification  of 
the  Months,  whom  we  have  met  in  more  than  one  Lord  Mayor's  Show.  The 
thing  is,  in  reality,  a  masque :  it  is  meant  to  take  place  on  a  stage,  which  is  set 
to  represent  a  room  in  a  comfortable  cottage;  a  fire  burns  on  the  hearth;  the 
passage  of  a  year  is  shown  by  the  boys  and  girls,  each  of  whom,  as  he  comes  in, 
displaces  his  predecessor.  At  the  end,  "  while  December  sings  his  song,  all  the 
other  months  troop  in  from  the  garden,  or  advance  out  of  the  background.  The 
Twelve  join  hands  in  a  circle,  and  begin  dancing  round  to  a  stately  measure  as 
the  curtain  falls."  Under  no  definition  of  either  modern  or  ancient  pageantry 
can  this  composition  find  a  place;  the  only  suggestion  of  pageantic  technique 
being  the  "  march  "  of  the  characters,  as  each  displaces  his  predecessor  through 
the  play.2  The  masque  and  the  pageant  have  a  common  "  soul  ";  but  the  stage- 
setting,  the  technique,  and  the  spirit  of  this  play  remove  it  from  pageantry  in 
spite  of  its  symbolical  characters. 

The  four  Seasons  appeared  at  Knutsford  in  1913;  in  Jordan's  London  in 
Luster  (1679)  the  first  pageant  was  called  "  The  Triumph  of  Time  "  -  and  on 
the  extreme  top  sat  Time  himself,  surrounded  by  the  Months  and  Opportunity; 
in  Heywood's  Londini  Status  Pacatus  (1639)  we  find  Janus  and  "  foure  Persons 
representing  the  foure  Seasons;  Spring,  Summer,  Autume,  Winter;  every  one 
habited  agreeable  to  his  propriety  and  condition."  3  Again,  in  the  .third  pageant 
of  Jordan's  Show  for  1677,  "  stood  Time,  attended  by  the  four  Quarters  of  the 
year,  and  '  next  to  him  and  round  about  him  sit  six  persons,  representing  a 
Minute,  and  Hour,  a  Day,  a  Week,  a  Month,  a  Year.'  "  4  These  figures,  how- 


1  See  Poems  by  Christina  G.  Rossetti  (Boston,  1899),  pt.  ii,  pp.  13-32.  Cf.  MacKenzie 
Bell,  Christina  Rossetti:  a  Biographical  and  Critical  Study  (London,  1898),  pp.  224!.:  "  '  A 
Pageant  and  other  poems'  was  published  by  Messrs.  Macmillan  in  August,  1881  .  .  .  The 
title-poem  called  '  The  Months:  A  Pageant '  runs  to  twenty-two  pages,  and  is  in  the  form 
of  a  masque,  in  which  the  '  personifications  '  of  January,  March,  July,  August,  October  and 
December  are  assumed  by  boys,  and  February,  April,  May,  June,  September  and  November 
by  girls.  The  stage  directions  are  ample  and  interesting,  and,  properly  mounted,  it  should 
be  a  very  picturesque  little  play  for  children  ...  It  is  cheerful  throughout,  with  not  a  single 
note  reminding  the  reader  of  sorrow." 

a  The  same  desire  to  call  a  masque  a  pageant  was  shown  in  the  welcome  of  Professor  Du- 
quesne  by  the  Harvard  architects  in  1911.  On  this,  see  p.  287,  below. 

3  Works  (1874)  v,  p.  363.  4  Fairholt,  pt.  i,  pp.  88  f.    Cf.  above,  p.  74. 


192  ENGLISH  PAGEANTRY 

ever,  are  not  in  themselves  pageantic;  in  the  civic  shows  they  are  the  texts  for 
sermons  preached  by  Opportunity  and  Janus;  at  Knutsford,  they  are  merely 
characters  in  a  revel.  In  Miss  Rossetti's  masque,  the  Months  act  out,  in  their 
dances,  their  own  symbolism,  which  is  made  clearer  by  their  songs. 

§  7.  CONCLUSION 

We  have,  in  this  chapter,  discussed  various  kinds  of  pageantry,  most  of  which 
is  still  alive.1  It  must  be  kept  in  mind  that  the  Lord  Mayor's  Show  travelled 
beside  these  others;  and  while  it  is  hard  to  give  definite  examples  of  cross- 
influences,  it  would  be  impossible  to  say  that  they  did  not  exist.  No  connection 
is  apparent  between  the  "  armed  men  "  of  the  early  nineteenth-century  show  and 
the  tournament  at  Eglinton;  or  between  Britannia's  Muster  and  any  show  be 
tween  1907  and  1910;  but  it  would  be  hard  to  prove  that  there  was  no  memory 
of  any  symbolical  float  in  the  minds  of  those  who  planned  the  1910  "  Tourna 
ment." 

The  tradition  of  the  older  pageantry  is  kept  up  in  such  shows  as  we  have 
seen  at  Salisbury,  Coventry,  Lichfield,  and  Knutsford.  The  1907  Liverpool 
celebration  seems  rather  to  have  drawn  on  this  older  form,  though  the  Parkerian 
pageant,  which  arose  in  1905,  has  affected  many  subsequent  festivals.  The 
spirit  which  animates  the  newer  form  is  forecast  in  the  Ripon  anniversary  pro 
cession  of  1886;  but  the  technique  of  this  celebration  is  that  of  the  old  pageant. 
The  Corpus  Christi  pageantry,  which  may  have  been  the  source  of  that  later 
attached  to  the  Coventry  Fair,  probably  goes  back  itself  to  such  folk-customs  as 
were  revived  in  Knutsford,  and  have  survived  in  the  attenuated  forms  of  Hal 
lowe'en  and  Guy  Fawkes'  Day  mumming.  Even  the  political  pageantry  —  in 
sofar  as  it  is  confined  to  the  burning  of  an  efligy  —  may  have  a  deep  root  in  the 
credulity  of  folk  that  would  burn  a  waxen  image  of  an  enemy  to  harm  him;  and 
the  effigy  itself  may  not  be  unrelated  to  the  folk-figure  which  lies  behind  the 
civic  giant.  The  need  for  national  defence  makes  necessary  the  training  of  forces, 
and  military  exercises;  these  "  musters  "  lie  at  the  root  of  Midsummer  Show, 
"  Courts  of  Array,"  and  —  indirectly  —  of  the  "  Tournaments  "  of  our  own  day. 
The  difference  between  a  pageant  and  a  pageantic  revel  we  have  seen  to  con 
sist  in  the  central  idea;  in  the  former,  history,  symbolism,  and  allegory  all  point 
to  one  thing  —  the  mayor  who  is  being  installed,  or  the  guild  which  is  providing 
the  spectacle;  the  holiday  which  is  being  observed,  or  the  event  which  is  being 
recalled.  A  revel  has  no  such  unifying  idea;  and  in  proportion  as  the  pageant 
admits  distractions,  by  so  much  does  it  tend  to  drift  to  the  revel.  Shaksperian 
characters  grouped  around  Shakspere  are  pageantic;  but  thrown  wildly  into  a 


1  For  the  political  pageantry  of  the  seventeenth-century  "  Pope-burning/'  has  a  modern 
parallel  in  the  July  processions  of  the  north  of  Ireland  —  though  the  pageantry  is  reduced 
to  symbolical  banners. 


SURVIVALS  AND  REVIVALS  193 

procession  with  other  costumed  figures  unconnected  with  the  dramatist,  they 
become  mere  revellers.1 

In  1905,  at  Sherborne  School  in  Dorsetshire,  under  the  guiding  hand  of  Mr. 
Louis  Parker,  the  modern  pageant,  or  "  folk-play,"  came  into  being.  As  this 
is  a  distinct  form  of  art,  we  shall  discuss  it  in  the  next  chapter.  We  shall  not 
find  float,  pageant-car,  or  giant;  the  procession  through  the  streets  gives  way 
to  one  across  a  stage  —  usually  (in  England  practically  always)  out-of-doors. 
Allegory  is  largely  done  away  with,  but  we  do  not  wholly  lose  sight  of  symbolism, 
in  this  new  genre;  and  history  is  the  breath  of  its  life. 


1  It  is,  of  course,  unnecessary  that  each  car  of  a  pageant  be  closely  connected  with  the 
others  —  though  the  closer  the  relation  is,  the  higher  is  the  art. 


CHAPTER  VIII1 

THE  PARKERIAN  PAGEANT 

INTRODUCTION 

"  \  N^7"  review  of  the  uses  of  pageantry  in  past  ages  and  of  its  development  in 
A~\.  recent  time,"  writes  Mr.  William  Orr,2 "  must  recognize  that,  while  certain 
elements  are  constant,  the  form  of  presentation  and  the  manner  of  acting  the 
scenes  have  varied  greatly.  The  factors  essential  to  true  pageantry  are  the  use 
of  the  costumes  and  practices  of  other  days  and  the  representation  of  important 
events  in  history  as  expressions  of  the  manifold  activities  and  aspirations  of  the 
human  soul." 

However  true  this  may  be  of  modern  pageantry,  I  have  ill  done  my  task  if 
the  reader  of  the  foregoing  pages  feels  it  to  be  true  of  the  shows  and  triumphs 
we  have  been  studying.  Something  of  that  spirit,  to  be  sure,  we  have  found  in 
the  Lord  Mayor's  Shows  since  1884,  and  in  a  pageant  like  that  of  Ripon  in  1886; 
at  times,  flashes  of  this  emphasis  on  history  —  more  or  less  recent  —  are  seen 
in  the  later  shows  at  Lichfield,  Coventry,  and  Knutsford.  But  the  older  and 
newer  pageantry  are  so  different  from  each  other,  that  to  include  the  modern 
work  in  a  consideration  of  the  early,  is  almost  like  adding  an  appendix  about 
fire-dogs  to  a  treatise  on  the  habits  of  the  canine  —  to  adopt  the  humorously 
exaggerated  figure  of  Mr.  W.  C.  Langdon.3 

THE  OLDER  AND  NEWER  PAGEANTRY  COMPARED 

And  yet  the  differences  are  not  so  great  as  at  first  appears;  for,  though  the 
"  body  "  and  "  technique  "  of  the  two  have  nothing  in  common,  the  "  soul " 
and  "  spirit  "  of  the  two  are  much  the  same.  It  is  true  that  there  is,  in  the  Par- 
kerian  work,  little  allegory,  no  mythology,  and  much  less  symbolism  than  in 
the  older  Lord  Mayor's  Show;  but  there  is  an  increased  emphasis  on  history, 
to  make  up  for  it.  Though  some  of  the  Lord  Mayor's  Shows  included  historical 


1  For  much  material  in  this  chapter  I  am  indebted  to  Louis  N.  Parker,  Esq.,  F.  R.  A.  M., 
Officier  de  1'Instruction  Publique;  I  take  great  pleasure  in  acknowledging  my  gratitude.    The 
reader  will  find  his  papers  in  the  Journ.  Soc.  Arts  (22  Dec.,  1905),  liv,  pp.  142  f.,  and  in  New 
Boston  (Nov.,  1910),  pp.  296  f.,  mentioned  in  the  Bibliography.   Cf.  also  my  Manual  of  Pag 
eantry,  Indiana  University  Bulletin,  vol.  xiii,  no.  7.    (15  June,  1915.) 

2  In  the  introduction  to  Bates  and  Orr,  Pageants  and  Pageantry  (Boston,  and  New  York, 
1912). 

3  In  a  letter,  dated  28  January,  1913. 


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THE  PARKERIAN  PAGEANT  195 

characters,  and  placed  a  certain  emphasis  on  the  glorious  past  of  the  chief  magis 
trate's  Company,  this  was  done  rather  to  glorify  the  present  than  to  draw  in 
struction  from  history.  The  presence  of  former  renowned  Lord  Mayors,  and 
the  rehearsal  of  royal  or  noble  names  that  appeared  on  the  roster  of  the  guilds, 
awoke  feelings  analogous  to  those  with  which  a  man  reviews  his  distinguished 
ancestry. 

It  is  for  this  reason  that  the  pageantry  of  the  past  may  be  called  "  aesthetic," 
while  that  of  the  present  is  "  educational."  The  first  existed  primarily  to 
entertain ;  the  second  seeks  rather  to  instruct.  I  would  not  imply  that  there  is 
no  entertainment  in  modern  pageantry,  any  more  than  I  would  suggest  there 
was  no  instruction  in  the  earlier;  there  were  often  moral,  as  well  as  historical, 
lessons  given  in  the  seventeenth-century  Lord  Mayor's  Shows  —  to  those  who 
could  hear  the  speakers;  but  the  chief  emphasis  is  as  I  have  said.1 

THE  AIMS  OF  THE  PARKERIAN  PAGEANT 

Besides  this  aim  —  the  education  of  a  community  in  its  own  past  —  Parkerian 
pageantry  is  a  protest  against  "  modernity  ".  "  This  modernising  spirit,  which 
destroys  all  loveliness  and  has  no  loveliness  of  its  own  to  put  in  its  place,  is  the 
negation  of  poetry,  the  negation  of  romance  .  .  .  This  is  just  precisely  the  kind 
of  spirit  which  a  properly  organized  and  properly  conducted  pageant  is  designed 
to  kill,"  writes  Mr.  Parker.2  Something  of  this  spirit  is  seen  in  the  more  recent 
Lord  Mayor's  Shows,  in  the  Ripon  celebration,  and  we  may  catch  reflections  of 
it  in  the  tournaments  of  1839  and  1912.  Insofar  as  the  nineteenth-century  civic 
shows  aimed  to  preserve  the  romantic  aspect  of  life,  they  prepared  the  way  for 
the  Parkerian  work. 

PAGEANT  AND  DRAMA 

Another  difference  between  the  early  and  the  modern  pageant  is  seen  in  their 
relations  to  the  drama.  At  first  a  processional  entertainment,  quite  undramatic, 
the  pageant  grew  slowly  into  form;  through  the  mists  which  usually  surround 
the  birth  of  a  literary  genre,  we  have  seen  folk-customs,  with  their  attendant 
plays,  dances,  and  games;  the  moving  platforms  and  Biblical  characters  of  the 


1  I  must  caution  the  reader  not  to  confuse  "  modern  pageant "  with  "  pageant  given  in 
modern  times."    Owing  to  the  poverty  of  our  vocabulary,  I  must  run  the  risk  of  being  mis 
understood;  but  I  do  not  consider  the  Lord  Mayor's  Show  of  1913  or  the  Lichfield  Bower  of 
1914  "  modern  pageants."    Rather  are  they  survivals  of  the  older  pageants  which  have  lasted 
to  our  days;   and  such  revivals  as  we  discussed  in  the  last  chapter  are  influenced  by  them. 
By  "  modern  pageant,"  I  mean  the  historical  folk-play  which  came  into  being  in  1905,  and 
which  forms  the  subject  of  this  chapter.    It  is  in  order  to  avoid  a  confusion  that  I  have  named 
it  after  its  founder;  the  reader  will  understand  that  "  modern  "  and  "  Parkerian  "  pageantry 
are  synonymous. 

2  Journ.  Soc.  Arts,  liv,  p.  143. 


196  ENGLISH  PAGEANTRY 

guild-plays;  allegory,  and  the  elaborate  symbolism  of  tournament  and  "  Court 
of  Love  ";  the  flattery  and  ingenious  lavishness  of  the  Lord  Mayor's  Shows  — 
all,  in  one  way  or  another,  absorbed  by  the  pageant.  We  have  seen  the  inter 
change  of  influence  between  pageant,  masque,  and  interlude  —  the  masque, 
standing  with  luxurious  feet  where  pageant  and  the  drama  meet. 

But  the  new  pageantry  is  drama.  Mr.  Parker,  in  the  Foreword  to  the  Book 
of  the  York  Pageant,  writes:  "  Dilettantes  and  quidnuncs  prate  about  the  Na 
tional  Drama.  Here  it  is.  Drama  covering  all  English  history  from  800  B.C.  to 
the  Great  Rebellion;  written  by  Englishmen,  set  to  music  by  Englishmen, 
costumed  and  acted  by  English  men  and  women  —  acted  by  thirteen  thousand 
of  them  —  and  listened  to  by  over  half-a-million  spectators  in  twelve  weeks. 
Drama  lifting  our  souls  to  God,  and  our  hearts  to  the  King  —  is  not  that  Na 
tional  Drama  ?  "  1 

§  i.    THE  BIRTH  OF  MODERN  PAGEANTRY 

It  is  generally  recognized  that  Mr.  Parker  is  "  the  inventor  and  founder  of 
modern  pageantry,"  2  which  came  into  being  at  Sherborne,  in  Dorsetshire,  in 
1905.  As  far  back  as  the  'seventies  or  'eighties  the  idea  of  giving  a  musical 
"  folk-play  "  in  the  old  courtyard  of  Sherborne  School  had  appealed  to  Mr. 
Parker,  who  was  then  teaching  there;  but  it  was  not  until  thirteen  years  after 

1  We  must  leave  to  a  future  study  a  consideration  of  the  effect  of  pageant- writing  on  the 
technique  of  those  dramatists  who  have  planned  pageants.    The  work  of  Dekker,  Heywood, 
and  Middleton  must  have  been  affected;   Mr.  Parker  has  told  me  that  his  own  technique 
has  been  much  influenced  —  but  it  must  not  be  forgotten  that  he  gave  the  pageant  a  dra 
matic  quality  it  lacked. 

Mr.  Parker's  own  dramatic  work  before  1905  included  plays  which  —  like  Rosemary  and 
The  Cardinal  —  dealt  with  the  more  or  less  distant  past;  and  since  1905,  he  has  composed 
such  plays  as  Drake,  and  Joseph  and  his  Brethren,  which  he  calls  "  pageant-plays." 

Mr.  Nugent  Monck's  work  —  with  the  exception  of  his  Norwich  pageant,  which  was  his 
torical —  is  rather  the  production  of  plays  on  pageantic  lines.  He  admits  the  debt  of  all 
pageant-masters  to  Mr.  Parker,  but  told  me  that  he  was  drawn  into  the  work  through  his 
interest  in  reproducing  miracle-plays  and  masques.  A  discussion  of  his  work  as  a  whole  will 
have  to  be  made  elsewhere;  his  Books  of  Words  are  not  easily  accessible,  and  his  departure 
for  the  front  left  me  without  a  promised  collection.  Episodes  in  the  life  of  King  Arthur, 
which  he  wove  into  a  "  pageant-play,"  were  produced  under  his  direction  in  the  grounds  of 
"Abbey  Lodge,"  Hanover-gate,  Regent's  Park,  London,  on  the  8  and  9  July,  1914;  this 
performance  I  attended  —  and  while  it  was  divided  into  episodes,  given  out-of-doors,  and 
had  other  pageantic  characteristics,  the  subject,  and  the  limited  audience,  prevent  its  being 
considered  true  pageantry. 

We  shall  discuss  the  "  pageant-plays  "  of  other  recent  writers  in  later  section  —  see  below, 
p.  229  f.;  see  also  p.  208  for  remarks  on  the  pageant  and  the  stage. 

2  Bates  and  Orr,  Pageants  and  Pageantry,  p.  iv.    Cf.  Mr.  Parker's  Foreword  to  the  Book 
of  the  York  Pageant:   "  In  1905  I  invented  a  new  form  of  dramatic  art  with  the  Sherborne 
Pageant.    After  developing  it  at  Warwick  in  1906,  at  Bury  St  Edmunds  in  1907,  at  Dover 


THE  PARKERIAN  PAGEANT  197 

he  had  left  the  school  that  the  opportunity  came  for  realizing  his  plan.  The 
twelve-hundredth  anniversary  of  school,  bishopric,  and  town  was  to  be  cele 
brated  in  1905;  and  Mr.  Parker  suggested  that  a  "  folk-play  "  be  given  to  bring 
back  the  past  glories  of  a  see  which  antedated  Salisbury.1  The  idea  was  re 
ceived  with  approbation,  and  a  year  before  the  celebration  was  scheduled, 
preparations  were  begun.  From  a  modest  beginning,  the  scheme  grew,  so  that 
—  starting  with  a  hundred  performers  —  it  ended  with  nine  hundred. 

It  is  important  to  note  that  this  modern  pageantry  is  not  a  development 
from  the  older ;  Mr.  Parker  is  emphatic  in  saying  he  was  not  influenced  by  the 
Lord  Mayor's  Show,  and  that  he  does  not  approve  of  such  street  processions. 
While  it  is  undeniably  true  that  many  of  them  are  now  inartistic  —  have,  per 
haps,  survived  their  usefulness  —  still  they  have  preserved  the  past,  and  have, 
very  possibly,  paved  the  way  for  an  appreciation  of  the  newer,  and  much  higher, 
form  of  pageantry.2  However  that  may  be,  Mr.  Parker  got  his  idea  of  a  folk- 
play  originally  from  such  Fest-  and  Erinnerungsspiele  as  that  of  Tell  at  Altdorf , 
Luther  at  Worms,  and  the  Meistertrunk  at  Bavarian  Rothenburg.3 

THE  SHERBORNE  PAGEANT  or  1905 

The  Sherborne  entertainment  was  originally  called  a  "  folk-play,"  4  but  the 
name  was  not  understood,  and  the  idea  of  a  folk-play  awoke  no  enthusiasm. 


in  1908,  and  at  Colchester  in  the  present  year,  I  close  my  pageanting  career  at  York.   That 
is  as  it  should  be  ... 

"  An  enormous  amount  of  pessimistic  nonsense  is  talked  about  our  undemonstrative 
nature,  our  depraved  taste  in  art,  our  contempt  for  the  drama,  our  ignorance  in  music,  our 
commercial  spirit,  and  so  on.  Let  the  acting  that  has  been  seen  in  these  pageants,  the  cos 
tumes,  the  astonishing  '  properties,'  the  arms  and  armour,  the  dances,  the  music,  and  all  the 
self-sacrifice,  self-effacement,  surrender  of  leisure,  on  the  part  of  thousands  of  voluntary 
workers,  unnamed,  unrewarded,  often  even  unthanked,  be  the  answer." 

1  Mr.  W.  B.  Wildman  was  writing  the  history  of  the  place,  so  that  many  historical  details 
were  accessible. 

2  Mr.  Parker  characterized  the  "  pageant "  at  Coventry  (in  which  —  as  he  put  it  — 
a  circus-rider  takes  the  part  of  Lady  Godiva,  and  is  followed  in  her  ride  through  the  town  by 
various  motors,  and  tradesmen's  floats)  as  a  "  distressing,  ghastly  affair."    We  should  not 
whack  our  great-grandmothers  over  the  head  because  they  are  toothless  and  wandering  in 
their  minds. 

3  Professor  Baker,  in  a  short  article  published  in  New  Boston,  (Nov.,  1910),  p.  295,  calls 
this  modern  pageant  "  the  revival  of  an  old  popular  amusement  that  from  the  moment  of  its 
revival  has  been  developing  into  something  different  from  its  origins."    We  have  seen  how 
the  older  pageantry,  in  the  more  recent  Lord  Mayor's  Show,  had  been  preparing  the  way  for 
the  newer  form;  we  have  Mr.  Parker's  word  for  the  fact  that  there  is  really  no  connection  at 
all  between  the  forms,  other  than  the  mere  accident  of  name.    It  is  this  unfortunate  accident 
which  has  caused  much  confusion;  there  are,  however,  certain  elements  in  common  —  even 
if  the  later  is  not  derived  directly  from  the  earlier. 

4  With  no  reference  to  the  earlier  folk-plays  or  sword-dances. 


198  ENGLISH  PAGEANTRY 

So  Mr.  Parker  sought  for  another  name  —  a  word  that  would  appeal  to  every 
one;  and  revived  the  old  term  which  meant  nothing  very  definite  to  anybody, 
but  which  suggested  delightful  masquerading  to  the  players.  All  their  apathy 
vanished. 

The  Lord  Mayor's  Show  had  degenerated  into  fustian;  it  was  given  by  hired 
performers,  and  had  lost  much  of  its  old  meaning.1  The  "  pageant  "  at  Sher- 
borne  —  the  first  of  a  long  line  —  was  something  new;  it  met  with  opposition  and 
ridicule  from  outsiders;  given  in  a  small  out-of-the-way  town,  under  a  pageant- 
master  who  himself  hardly  knew  what  he  meant  to  do,  the  first  modern  pageant 
struggled  into  life. 

As  the  preparations  for  the  festival  went  on,  great  difficulty  was  found  in 
interesting  the  press.  The  grandstand  was  erected,  yet  everything  seemed  to 
have  been  done  for  nothing,  because  no  audience  was  in  prospect.  Ten  days 
before  the  performance,  the  dress  rehearsal  took  place;  and  by  accident  two 
newspaper  men  were  present.  Their  notices  brought  fifty  thousand  people  to 
the  little  Dorset  village.  All  England  took  fire.2 

§  2.   PRODUCING  A  PAGEANT 3 

Mr.  Parker  has  insisted  that  all  his  pageants  be  done  by  voluntary  labor. 
The  "  episodes  "  were  written  by  local  dramatists  and  poets  wherever  possible, 
and  the  music  composed  by  local  musicians.4  All  the  costumes  and  all  proper 
ties  were  produced  by  the  inhabitants,  voluntarily,  without  exception;  5  the 
poorer  people  were  indemnified,  but  they  were  not  paid  a  profit.  The  profes 
sional  orchestras  were  the  only  people  connected  with  Mr.  Parker's  pageants 
who  were  paid  for  their  services. 


1  I  quote  Mr.  Parker.  The  reader  will  soon  see  his  dislike  of  "  hired  performers  "  —  always 
part  of  the  Lord  Mayor's  Shows.    ("  Degenerated  into  fustian  "  are  hard  words!) 

2  For  pictures  of  the  Sherborne  pageant  see  the  Illus.  Lond.  News,  for  10  June,  1905, 
pp.  814,  815;  and  Stone,  pp.  62  f. 

3  Many  of  the  matters  mentioned  here  are  touched  upon  in  my  Manual  of  Pageantry. 


4  The  choruses  of  all  of  Mr.  Parker's  pageants  were  written  by  James  Rhoades,  "  a  fin 
ished,  though  not  a  popular,  poet."  Especially  noteworthy  are  the  chorus  in  the  Dover 
Pageant,  preceding  the  entrance  of  Henry  VIII,  and  that  introducing  the  seventh  episode 
of  the  York  Pageant  (see  the  Book  of  Words  of  the  York  Pageant,  p.  113;  another  fine  chorus 
is  the  Triumph  Song  of  York  [ibid.,  pp.  126  f.]).  Mr.  Parker  himself  planned  the  pageants, 
chose  the  episodes,  and  edited  the  MSS.  submitted  —  in  one  case,  a  five-act  tragedy,  offered 
by  a  local  writer,  was  cut  to  a  ten-minute  episode. 

It  will  be  recalled  that,  in  1574,  a  Bristol  schoolmaster  became  angry  because  local  talent 
was  slighted.  (See  above,  vol.  i,  p.  207.) 

6  Mr.  Parker  demanded  that  each  player  furnish  his  own  costume,  as  far  as  possible. 


THE  PARKERIAN  PAGEANT  199 

THE  ARENA:   WITH  REMARKS  ON  THE  SITE 

Another  important  feature  of  these  productions  was  that  the  arena,  where 
the  action  took  place,  was  kept  like  a  first-class  stage.  The  orchestra  was  con 
cealed,  and  none  of  the  "  machinery  "  of  the  pageant  was  shown.  The  per 
formances  were  directed  by  means  of  electric  bells;  some  of  the  entrances — • 
those  at  Warwick,  for  instance  —  took  place  a  quarter  of  a  mile  from  the  grand 
stand.  Everything  ran  like  clockwork;  and  this  was  possible  only  because  the 
arena  —  which  varied  between  five  and  ten  acres  in  extent  —  was  strictly  kept. 

Mr.  Parker  has  "  rejected  "  from  thirty  to  fifty  towns,  which  applied  to  him 
for  pageants,  because  they  lacked  suggestive  backgrounds.  He  insisted  always 
on  finding  the  centre  of  historical  interest  in  a  town,  and  that  was  the  site  of  the 
pageant.1  While  not  presuming  to  criticize  Mr.  Parker's  attitude  —  and  no 
one  will  deny  that  the  founder  of  pageantry  as  we  know  it  has  a  right  to  speak 
authoritatively  —  many  cannot  help  feeling  that  too  strict  a  line  may  be  drawn 
here.  Conditions  vary  somewhat,  it  is  true,  between  England  and  America; 
we  have  not  got,  for  instance,  charming  old  Abbey  courtyards,  around  which 
our  towns  have  grown  up,  and  which  have  seen  many,  if  not  all,  of  the  historical 
happenings  our  pageants  celebrate.  The  impossibility  of  giving  a  pageant  be 
fore,  let  us  say  Faneuil  Hall,  has  driven  American  pageant-masters  to  country 
nooks  on  the  outskirts  of  our  cities;  and  this  has  had  a  slight  effect,  perhaps, 
on  our  pageants.  No  one  will  deny  that  if  the  site  of  a  pageant  be  the  scene  of 
even  one  event  reproduced,  a  great  advantage  is  gained;  that  it  is  a  necessity, 
is  not  universally  admitted.  Perhaps  this  is  due  to  the  fact  that  American 
pageants  are  not  so  strictly  historical  as  are  the  English;  to  this  point  we  shall 
return. 

But  even  in  England,  pageant-masters  do  not  all  share  Mr.  Parker's  views. 
"  In  selecting  Cheltenham  as  the  home  of  the  Gloucestershire  Historical  Pag- 


1  In  this  connection,  we  may  note  the  Pageant  of  Wales  at  Cardiff  (pictured  in  the  Ittus. 
Land.  News  for  31  July,  1909,  supplement,  pp.  i  and  iv).  Says  that  weekly:  "  The  whole  of 
the  romantic  history  of  Wales  has  been  drawn  upon  for  picturesque  episodes  and  spectacles. . . 
The  chief  scenes  are  laid  at  Cardiff  itself,  at  Agincourt  and  at  Ludlow.  We  see  the  crowning 
of  King  Arthur,  and  the  crowning  on  the  battlefield  of  Bosworth  of  Henry  Tudor;  we  see 
King  Henry  at  the  field  of  Agincourt,  and,  according  to  the  programme, '  the  Chief  Constable 
of  Glamorgan  as  Chief  of  the  Ruffians! '  The  good  people  of  Wales  have  foregathered  in  the 
historic  environment  of  Cardiff  to  celebrate  '  the  mighty  heroes  of  a  bygone  tune/  and  they 
are  particularly  anxious  to  impress  upon  all  beholders  that  this  is  a  national,  not  a  local, 
pageant;  not  a  Pageant  of  Cardiff,  but  a  Pageant  of  Wales  .  .  ." 

I  may  remind  the  reader  that  the  play  of  Robin  Hood  and  the  Curtal  Friar,  at  Ripon  in 
1886,  was  given  on  "  the  traditional  site  of  the  famous  event  it  recalled  ";  (see  above,  p.  161). 

On  this  matter  of  site,  see  also  T.  H.  Dickinson,  The  Pageant,  in  The  Play-book  for  Sep 
tember,  1914  (ii,  4),  pp.  25  f.,  and  Davol,  Am.  Pag.,  pp.  145  f.  (chapter  ix). 


200  ENGLISH  PAGEANTRY 

eant,"  writes  Hawtrey,1  "  some  difficulty  was  felt,  because  the  town  is  not  one 
that  possesses  many  historical  associations.  In  each  episode  we  have  to  assume 
that  the  scene  represents  a  different  locality.  This  demands  a  certain  amount  of 
imagination  on  the  part  of  the  audience  .  .  .  "  —  and  imagination,  it  may  be 
remarked,  is  a  quality  that  audiences  are  usually  very  ready  to  give. 

At  York,  the  Dean  urged  the  use  of  the  space  in  front  of  the  Cathedral  for 
the  pageant,  and  Lord  Halifax  warmly  seconded  him;  but  Mr.  Parker  wisely 
refused  the  site.  Humor  enters  historical  pageants,  for  it  is  in  history;  and  one 
cannot  present  humorous  scenes  near  a  Cathedral,  which  was  to  be  used  as  en 
trance  and  exit  for  appropriate  characters.  The  offer,  however,  showed  the 
spirit  which  lay  behind  the  whole  pageant  —  a  spirit  which  was  again  shown  in 
the  final  march,  during  which  the  cheers  of  the  audience  drowned  the  affectionate 
farewells  of  the  actors  to  each  other  —  farewells  which  showed  the  solidarity 
engendered  by  the  pageant. 

The  English  Church  Pageant  of  1909  —  which  was  divided  into  two  parts  2  — 
had  a  total  number  of  nineteen  "  scenes  ";  the  different  episodes  took  place  in 
various  districts  of  England:  for  instance,  the  first  scene  was  laid  at  "  the  Roman 
town  of  Calleva,  now  Silchester,  in  Hampshire  " ;  the  third,  at  "  a  Pictish  village 
on  the  island  of  Hy,  afterwards  known  as  lona  ";  the  fourth  showed  "  the  open 
country  a  few  miles  from  Canterbury  ";  the  sixth,  "  the  Frater  or  dining  hall 
of  the  Old  Minster  at  Winchester  ";  the  ninth,  "  the  island  in  the  Thames  by 
Runnymead."  The  fifth  scene  of  the  second  part  showed  the  coronation  pro 
cession  of  Edward  VI  from  Westminster  Hall  to  the  Abbey.  Many  of  the  scenes 
are  laid  in  or  near  London ;  but  it  is  not  often  that  a  pageant  allows  itself  such 
latitude  as  we  find  here.3 

THE  PAGEANT-MASTER 

The  personality  of  a  pageant-master  counts  for  a  great  deal;  for  the  modern 
pageant  is  carried  through  by  force  of  personal  magnetism.  Mr.  Parker  met 
indifference,  discouragement,  and  opposition  at  the  beginning;  but  each  pageant 
ended  in  enthusiasm.  Six  thousand  people  took  part  in  the  York  Pageant  alone ; 


1  In  the  Foreword  to  the  Book  of  Words  of  the  Gloucestershire  Pageant. 

?  One  beginning  at  three,  and  the  other  at  eight  o'clock;  the  first  part  consisted  of  ten 
"scenes,"  and  the  second  of  nine.  (See  the  program  of  the  Pageant  for  details.) 

3  It  may  be  added  that  Mr.  Parker  disapproves  of  having  the  audience  itself  form  the 
background  for  another  part  of  the  audience  sitting  across  the  stage  —  an  ineffective  prac 
tice  not  uncommon  in  America.  Nor  would  he  admit  any  artificial  scenery  in  his  pageants. 
Mr.  Davol  (Am.  Pag.,  p.  148)  bids  us  "  remember  that  little  artificial  scenery  can  be  safely 
used  in  the  open-air." 

One  American  pageant  of  recent  years  not  only  used  artificial  scenery,  but  (when  forced 
to  change  it)  sent  up  a  curtain  of  steam  between  spectators  and  stage,  on  which  colored  lights 
played,  to  make  it  opaque.  (A  clever  way  of  solving  one  difficulty.) 


THE  PARKERIAN  PAGEANT  2OI 

and  every  one  of  them  had  to  come  in  contact  with  the  pageant-master.  It  will 
easily  be  seen  that  his  position  is  no  sinecure.  It  is  true  that  Mr.  Parker  has 
created  a  new  profession;  but  there  is  little  danger  that  it  will  be  overcrowded. 
Besides  the  genius  of  personality,  the  pageant-master  must  have  a  genius  for 
organizing ; l  he  must  be  able  to  do  historical  research,  and  turn  the  results  of 
his  scholarship  into  literary  form;  he  must  be  able  to  make  others  work,  and  — 
while  he  leaves  much  to  committees  —  he  must  never  get  out  of  touch  with  de 
tails  ;  he  must  have  the  ability  to  assert  his  authority,  and  the  tact  to  calm  the 
quarrels  of  his  subordinates  without  offending  either  of  the  offended;  he  must 
be  versatile  enough  to  do  quickly  whatever  others  have  left  undone;  and  he 
must  have  a  constant  supply  of  good-humor  to  meet  the  attacks  of  the  pessi 
mists,  nor  must  he  ever  allow  himself  to  get  discouraged. 

THE  VALUE  OF  ACCURACY 

In  all  of  Mr.  Parker's  pageants  the  details  of  history  were  carefully  copied, 
so  that  the  pageants  became  of  great  educational  value.  Precise  words  and 
music  of  old  songs  were  dug  out  by  antiquarian  research;  and  not  only  were 
the  audiences  educated,  but  the  performers  as  well.  They  had  to  search  among 
old  books  to  find  out  about  flint  weapons,  Roman  armor,  and  mediaeval  cos 
tumes;  and  all  of  this  required  much  study.  The  work  on  a  pageant  began 
sometimes  eighteen  months  before  the  production;  the  things  collected  and  re 
produced  for  the  York  Pageant  —  costumes,  weapons,  armor,  horse-trappings, 
carriages,  etc.,  —  made  a  remarkable  museum  of  real  historical  value;  they  were 
on  exhibition  weeks  before  the  performance  took  place. 

If  pageantry  is  to  have  any  influence  as  an  educational  force,  it  is  clear  that 
historical  accuracy  must  be  insisted  on.  Once  let  the  public  feel  that  they  are 
being  deceived,  and  you  lessen  their  faith  in  the  educational  value  of  every 
pageant.  The  responsibility  of  pageant-masters  in  this  respect  is  obvious.2 


1  A  Graphic  Chart  of  a  Pageant  Organization  Scheme,  supplementing  Bulletin  n  of  the 
American  Pageant  Association,  is  reprinted  in  my  Manual  of  Pageantry  (1915),  p.  4. 

2  Mr.  Gilbert  Hudson,  who  has  served  as  pageant-master  in  several  Yorkshire  pageants, 
does  not  agree  with  this  point  of  view.    In  a  letter,  under  date  of  30  November,  1918,  he 
writes:  "...  Too  much  labour  may  be  expended  upon  endeavouring  to  obtain  '  accuracy '  of 
costume,  &c.   To  put  on  a  scene  in  so-called  '  accurate  '  costume  is  both  impossible  and  wrong. 
For  in  all  periods  there  are  survivals  and  anticipations  of  fashion ;  and  in  old  days  garments 
were  handed  down  (by  will)  from  father  and  mother  to  son  and  daughter,  as  a  common  prac 
tice.    The  desire  of  gorgeous  effect  also  leads  to  false  impressions  of  a  period;  for  no  crowds 
of  people  at  any  time  (except  on  definitely  ceremonial  occasions)  were  ever  arrayed  in  all 
their  best  at  once  .  .  ." 


202  ENGLISH  PAGEANTRY 

§  3.    CHARACTERISTICS  OF  THE  NEW  PAGEANTRY 

The  earlier  triumphs  were,  as  we  have  seen,  given  for  the  sake  of  entertain 
ment.  If  the  sovereigns  or  chief  magistrates  were  not  always  amused  by  the 
shows  provided  for  them,  the  populace  crowded  the  streets  in  wonder  and  drank 
at  the  flowing  conduits  with  gratitude,  from  the  time  of  Perkin  Revelour  down. 
The  new  pageantry  of  our  own  day  does  not  seek,  primarily,  to  amuse.  Perhaps 
it  is  an  unconscious  development  of  the  Puritan  conscience,  which  will  not  admit 
pure  enjoyment,  but  seeks  to  find  joy  in  edification.  There  are  other  character 
istics  of  modern  pageantry  which  are  also  characteristic  of  the  times.  It  is,  in 
the  first  place,  essentially  democratic. 

THE  DEMOCRATIC  ASPECT  OF  THE  MODERN  PAGEANT 

This  democratic  aspect  of  pageantry  is,  perhaps,  more  noticeable  in  England 
than  in  America.  When  Mr.  Parker  first  undertook  the  Sherborne  "  folk-play," 
the  headmaster  of  the  School,  Canon  Westcott,  agreed  to  take  part  in  the  per 
formance.  Mr.  Parker  thereupon  insisted  that  everyone  he  asked  should  per 
form  in  the  pageants  he  directed;  he  would  take  no  refusal  from  anyone.  All 
classes  were  called  on,  and  all  responded  amazingly.  Every  kind  of  person,  from 
peer  to  day-laborer,  and  even  tramp,  played  together  on  a  footing  of  absolute 
equality.  High  dignitaries  of  the  Church  of  England  joined  ministers  of  other 
denominations; l  and  the  pageants  created  a  spirit  of  good-fellowship,  sympathy, 
and  brotherhood  which  did  not  fade  from  the  community,  long  after  the  pageant 
was  a  thing  of  the  past.2  The  German  Festspiele  are  given  by  the  tradesman- 
class  ; 3  but  the  English  pageant  brings  all  classes  together,  and  gives  each  a 
chance  to  get  the  others'  point  of  view,  which  arouses  an  understanding  and 
sympathy  between  the  classes. 

THE  PAGEANT  AND  THE  COMMUNITY 

Mr.  Parker  feels  that  the  small  place  is  the  only  fit  place  for  a  pageant.4 
There  are  so  many  interests  in  a  big  city,  that  everyone  cannot  give  his  atten 
tion  and  energy  to  it;  and  unless  a  town  gives  its  whole  life  to  a  pageant,  the 


1  Some  non-conformist  clergymen  donned  the  robes  of  Romanist  prelates  with  reluctance, 
to  remove  them  with  real  regret. 

2  Mr.  Parker  possesses  a  beautiful  illuminated  address,  expressing  the  gratitude  and  affec 
tion  of  those  who  participated  in  the  Sherborne  Pageant.    Everyone  who  took  part  in  the 
pageant  signed  it,  including  some  old  folks  from  the  Almshouses,  who  —  not  being  able  to 
write  —  were  obliged  to  "  make  their  mark." 

3  There  are,  however,  some  exceptions,  especially  in  the  smaller  towns,  where  everyone 
takes  part. 

4  It  is  to  be  observed,  however,  that  in  December,  1905,  he  was  looking  forward  to  a  great 
National  Pageant  of  England,  to  be  given  at  Windsor,  or  some  other  suitable  site;  the  matter 


THE  PARKERIAN  PAGEANT  203 

pageant  is  nothing.  It  is  obvious  that  it  is  much  harder  to  develop  community 
spirit  in  a  metropolis  than  in  a  village;  there  are  too  many  interests  to  weave 
together.  And  the  solidarity  which  the  pageant  leaves  behind  it,  is  one  of  its 
chief  gifts. 

Many  pageant-masters  agree  with  Mr.  Parker  on  this  point.  Not  that  a 
pageant  can't  be  given  in  a  large  city;  it  has  been  often  done  (in  America,  per 
haps,  more  frequently  than  in  England)  and  been  done  successfully.  But  the 
fullest  measure  of  success  comes  when  everyone  enters  into  the  spirit  of  the  occa 
sion,  and  this  is  possible  only  in  a  smaller  town.  Pageants  in  cities  are  too  apt 
to  become  the  affair  of  one  section  or  of  one  class ;  it  is  obviously  impossible  to 
make  every  inhabitant  of  a  large  center  feel  the  personal  interest  in  and  respon 
sibility  for  the  pageant,  which,  in  the  town  or  village,  helps  the  individual  in 
many  ways,  and  draws  the  whole  community  together.1 

Mr.  Gilbert  Hudson,  pageant-master  of  various  Yorkshire  pageants,  writes 
that  he  regards  the  following  as  the  chief  social  objects  of  a  Pageant,  or  Folk- 
Play:2 

1.  The  uniting  of  all  classes  and  sorts  of  people  in  a  task  which  all  enjoy,  and,  by  the 
healthy  excitement  arising  from  participation  in  dramatic  scenes  and  in  poetic  utterance,  the 
dissolving  of  artificial  restraints  and  enmities  among  them,  which  the  ordinary  affairs  of  life 
seem  inevitably  to  create. 

2.  The  awakening  or  creation  of  a  communal  historical  sense,  which,  however  latent  at 
times,  shall  yet  persist  as  a  general  atmosphere  of  social  life. 

3.  The  instructing  of  people  how  to  entertain  themselves  in  each  others'  company,  and 
as  communities,  in  a  rational  artistic  manner.    The  subservient  benefits  that  spring  herefrom 
need  not  enumeration. 

Now  it  is  much  easier  to  achieve  these  objects  in  a  small  old-fashioned  town  (such  as 
Thirsk  or  Pickering)  than  in  a  larger  and  more  commercialized — may  I  say  'politicalized'? — 


to  be  made  up  of  various  episodes  from  other  more  local  pageants.  (See  Journ.  Soc.  Arts, 
liv,  pp.  145  f.).  Scotch  and  Welsh  National  Pageants  there  have  been  since  that  day;  but 
the  English  is  yet  to  come. 

1  What  throws  the  Masque  of  Learning  out  of  the  strict  field  of  pageantry,  is  that  it  does 
not  deal  with  Edinburgh  —  or  even  Scottish  —  history,  but  with  that  of  Education :   a  sub 
ject  which  of  necessity  must  appeal  to  a  limited  set.    The  Scottish  National  Pageant  of  1908 
(see  below,  p.  214)  has  many  non-Parkerian  characteristics;  but  it  is  much  nearer  the  ideal 
of  Mr.  Parker  than  is  the  Masque  of  Learning. 

A  Pageant  of  English  Literature  was  given  in  the  Town  Hall  of  Oxford,  during  the  week  of 
28  April,  1914,  in  aid  of  Home  Missions.  The  ten  episodes  took  the  history  of  literature  from 
Caedmon  to  Addison  and  Steele;  various  University  people  assisted;  but  the  affair  was  far 
from  having  the  community-appeal  of  the  Oxford  Pageant  of  1907  —  nor,  indeed,  was  it  so 
ambitious.  (For  a  short  notice  of  this,  see  the  London  Times  of  27  April,  1914,  p.  15,  col.  6.) 

We  shall  return  to  the  "  festival,"  or  "  restricted  pageant,"  in  the  next  chapter  (see  below, 
p.  281  f.).  On  the  effect  of  pageantry  upon  the  individual  and  the  town,  see  the  article  already 
referred  to  in  Journ.  Soc.  Arts,  liv,  p.  143.  My  material  here  is  largely  from  conversations 
with  Mr.  Parker. 

2  In  a  letter  of  25  November,  1918. 


204  ENGLISH  PAGEANTRY 

place  like  York  or  Scarborough.  In  the  former  cases,  there  is  a  better  preservation  of  the 
old  social  traditions  —  a  remnant  even  of  the  more  philanthropic  aspects  of  feudal  conditions, 
—  which  enables  the  best-fitted,  best-educated  people  to  take  the  lead  and  set  the  example 
in  matters  of  taste  and  organization,  than  in  the  latter,  where  modern  industrial,  political,  and 
educative  influences  have  upset  the  old  social  ideas,  and  have  not  yet  produced  any  unifying 
idea  in  their  place  —  and,  I  must  fear,  do  not  seem  likely  to,  for  the  simple  reason  that  they 
are  founded  not  on  any  religion  of  human  affections,  but  upon  notions  of  mere  worldly  and 
economical  advancement.  .  .  .  The  commercialized  town,  besides,  finds  it  difficult  to  under 
take  an  artistic  enterprise  for  its  own,  or  a  purely  social  sake,  without  any  admixture  of  baser 
aims.  At  Scarborough  the  Pageant,  in  spite  of  all  endeavors  to  the  contrary,  became  con 
tinually  involved  with  stupid  designs  of  advertising  the  town,  and  of  wishing  to  emulate  other 
places  in  mere  gorgeousness  of  exhibition. 

But,  putting  all  this  aside,  the  social  and  moral  results  of  a  Pageant  have  always  been  to 
me  a  matter  for  satisfaction.  People  who  take  part  in  them  seem  to  look  back  on  them  as 
among  the  great  events  of  their  lives,  and  to  see  their  town  ever  after  in  a  new  light  of  historical 
and  poetical  illustration. 

A  semi-ironic,  semi-appreciative,  view  of  pageantry  may  be  found  in  Sir  A. 
T.  Quiller-Couch's  Brother  Copas,  the  scene  of  which  is  laid  in  Merchester  (Win 
chester)  at  the  time  of  the  pageant  there.  "  Here,  after  all,  thousands  of  people 
were  met  in  a  common  pride  of  England  and  her  history.  Distort  it  as  the  per 
formers  might,  and  vain,  inadequate,  as  might  be  the  words  they  declaimed,  an 
idea  lay  behind  it  all.  These  thousands  of  people  were  met  for  a  purpose  in  itself 
ennobling  because  unselfish.  As  often  happens  on  such  occasions,  the  rite  took 
possession  of  them,  seizing  on  them,  surprising  them  with  a  sudden  glow  about 
the  heart,  sudden  tears  in  the  eyes.  This  was  history  of  a  sort.  Towards  the 
close,  when  the  elm  shadows  began  to  stretch  across  the  green  stage,  even  care 
less  spectators  began  to  catch  this  infection  of  nobility  —  this  feeling  that  we 
are  indeed  greater  than  we  know."  l 

INTERNATIONAL  GOOD-WILL  DEVELOPED 

Since  these  English  pageants  have  always  fallen  in  the  holiday  season,  many 
Americans  have  attended  them;  American  towns  have  been  represented — as 
at  Sherborne,  Dover,  and  York  —  and  a  feeling  of  international  good-will  has 
been  developed.2  The  articles  in  the  American  press  have  spread  abroad  the 
news  of  these  amenities,  and  both  countries  have  profited  as  the  bonds  between 
them  have  been  strengthened. 

1  I  am  indebted  to  Mr.  Francis  W.  Butler-Thwing  for  calling  my  attention  to  this  book. 
The  passage  cited  occurs  in  chapter  xxiv.    The  Winchester  Pageant  was  produced  by  Mr. 
F.  R.  Benson  in  June,  1908;  pictures  of  it  may  be  found  in  the  Illus.  Land.  News  for  27  June 
of  that  year,  pp.  956,  957.    ("  A  Rehearsal  "  is  illustrated,  ibid.,  for  23  May,  p.  741.) 

It  is  interesting  to  note  that  Sir  A.  T.  Quiller-Couch  had  a  hand  in  composing  the  Win 
chester  Pageant  —  see  below,  p.  226,  n.  i. 

2  Of  course  this  aspect,  though  a  common  one,  is  not  an  essential  of  pageantry.    It  will 
be  recalled  that  the  more  recent  Lord  Mayor's  Shows  symbolized  allied  and  friendly  Powers 
frequently. 


THE  PARKERIAN  PAGEANT  205 

In  the  Dover  Pageant,1  the  episode  of  the  coming  of  Henrietta  Maria  was 
written  by  a  Frenchman,  M.  Louis  Tiercelin,  and  played  by  a  group  of  French 
teachers,  who  rehearsed  at  Douai.  They  went  back  from  Dover  full  of  enthu 
siasm,  and  wanted  to  give  a  pageant  at  St.  Malo;  but  they  ran  up  against  po 
litical  and  social  difficulties.  Only  in  England,  thinks  Mr.  Parker,  can  one  get 
such  a  complete  mingling  of  all  classes  as  that  seen  in  his  pageants.2 

THE  PAGEANT  AND  THE  INDIVIDUAL 

Not  only  does  the  modern  pageant  educate,  and  bring  about  a  more  solid 
community-spirit,  and  even  develop  international  good-will,  but  it  also  brings 
to  light  latent  —  and  sometimes  undreamed-of  —  talents  in  the  individual. 
All  the  costumes  are  made  as  cheaply  as  possible;  and  the  inventiveness  dis 
played  is  sometimes  amazing.  A  young  woman  of  Dover  turned  rejected  "bow 
ler  "  hats  into  splendid  "  steel  "  helmets,  at  a  cost  of  twopence-halfpenny  apiece; 
"  chain  armor  "  was  made  from  thick  twine,  knitted  and  "  metalized  "  at  a  very 
small  cost.  The  average  price  of  costumes,  for  the  ordinary  performer,  was  from 
one  to  two  dollars;  and  the  costumes  were  not  only  beautiful  in  themselves,  but 
historically  accurate.  Many  people  were  directed  to  arts  and  crafts  owing  to 
the  incentive  got  in  the  pageants;  to  some  a  calling  was  given  by  their  partici 
pation  in  these  entertainments;  new  abilities  were  discovered,  and  the  lives  of 
a  great  number  made  the  richer  thereby. 

REPETITION  OF  PERFORMANCES 

Although  the  idea  of  modern  pageantry  came  from  the  German  Festspiele, 
which  are  usually  repeated  once  a  year,  if  not  oftener,3  Mr.  Parker  thinks  that 
the  modern  civic  pageant  cannot  be  repeated  with  advantage  oftener  than  once 
every  ten  years;  and  he  seems  inclined  to  doubt  whether  any  repetition  is  ad 
visable.  As  most  of  these  shows  were  planned  to  celebrate  a  particular  anni 
versary,  there  has  not  been  a  tendency  observable,  as  yet,  to  turn  them  into  any 
such  institution  as  the  Passion  Play  at  Oberammergau  has  become. 


1  See  the  Book  of  the  Dover  Pageant,  pp.  54  f . 

2  He  suggests  that  perhaps  American  pageantry  suffers  —  less,  indeed,  in  the  smaller 
communities  than  in  the  cities  —  from  the  fact  that  the  performers  are  apt  to  be  of  one  social 
stratum.    In  England,  the  classes  mix  for  the  moment  —  and  as  they  mix,  a  lasting  sympathy 
may  spring  up;  but  as  soon  as  the  pageant  is  over,  class  lines  are  recognized,  and  the  lower 
does  not  seek  to  presume  on  the  upper,  as  it  might,  or,  rather,  as  the  upper  might  fear  it 
likely  to,  hi  a  republic  like  France  or  the  United  States. 

Those  pageants  which  are  given  by  one  class  or  group  have  been  called  "  festivals"  — 
in  a  new  and  specific  sense  of  the  word. 

3  The  Meistertrunk  at  Rothenburg  was,  before  the  War,  regularly  given  on  Whitmonday, 
and  sometimes  once  or  twice  a  year  in  addition.    The  Oberammergau  Passion  Play  is  —  like 
the  early  miracle  plays  of  England  —  not  pageantry. 


206  ENGLISH  PAGEANTRY 

THE  COST  OF  A  MODERN  PAGEANT 

Regarding  the  cost  of  a  modern  pageant,  it  may  be  noted  that  Mr.  Parker's 
have  varied  from  £5000  to  £15,000.  His  guarantee  funds  covered  all  initial 
expenses  —  office-hire,  advertisement  in  the  press,  circulars,  etc.  —  and  a 
possible  deficit.  As  soon  as  the  plan  of  the  grandstand  was  ready,  he  opened  his 
box-office.  The  stands  usually  seated  about  six  thousand;  the  money  began  to 
come  in  even  while  the  performers  were  working  on  the  pageant,  and  a  month 
before  the  first  performance  everything  was  sold. 

The  Accounts  of  the  York  Pageant  are  added  in  an  appendix.  They  show 
total  receipts  of  £14,439,  185.  yd.,  of  which  £11,612,  125.  came  from  the  sale  of 
grandstand  tickets.  The  expenses  amounted  to  £13,677,  qs.  2d.,  of  which  the 
largest  items  were :  grandstand,  dressing-rooms,  cloak-rooms,  hire  of  exhibition, 
alteration  at  Museum  Gardens,  etc.,  £2,151,  65.  8>d.;  costumes,  £1,496,  is.  $d.', 
advertising,  printing,  etc.,  £1,556,  6s.  yd.;  the  retaining-fee,  royalty  and  ex 
penses  of  the  pageant-master,  £1,744,  2S.  $d.  The  subscriptions  were  returned, 
and  there  was  a  balance  of  £762,  95.  yd.  in  the  treasurer's  hands  on  7  October, 
1909. 

Mr.  Parker  states  *  that  the  Sherborne  Pageant  made  a  profit  of  $5,000;  that 
at  Warwick,  $15,000;  one  he  wrote  for  the  Duchess  of  Albany,  $10,000  in  only 
two  performances ;  and  that  at  Bury  St.  Edmunds,  $7,000.  The  Dover  Pageant 
-  in  many  respects  the  finest  spectacle  of  all  —  resulted  in  a  loss,  for  various 
reasons.  Mr.  Parker  strongly  deprecates  giving  a  pageant  for  any  definite 
charitable  object,2  or  to  make  money. 

THE  BLIGHT  OF  COMMERCIALISM 

Though  the  movement  is  so  new  in  England,  Mr.  Parker  points  out  that, 
even  in  1914,  it  had  already  begun  to  decline.  This,  he  says,  is  largely  due  to 
commercialism.  The  towns  giving  pageants  usually  made  money,  so  other 


1  In  New  Boston  (Nov.,  1910),  p.  298. 

2  The  Church  Pageant  of  1909  was,  according  to  Mr.  Parker,  a  contradiction,  for  it  was 
given  by  one  class:   the  Army  Pageant  of  1910  was  given  under  the  auspices  of  the  Army 
Charity.    The  profits  of  the  Gloucestershire  Pageant  were  to  go  to  the  Veterans'  Relief  Fund 
(see  title-page  of  the  Book  of  Words). 

In  the  appendix  to  Pageants  and  Pageantry,  Miss  Bates  estimates  the  cost  of  a  school 
pageant  (or  "  festival  ")  with  from  a  hundred  and  fifty  to  two  hundred  characters  to  be  about 
$230  for  two  performances  (op.  cit.,  p.  277).  Mr.  W.  C.  Langdon  tells  me  that  the  cost  varies 
with  each  place;  at  Warwick,  Massachusetts,  where  everything  was  given,  the  cost  was  $10. 
Of  course  much  depends  on  how  carefully  the  pageant-master  strives  after  historical  accuracy, 
and  how  much  material  he  has  at  hand. 

We  have  mentioned  the  expenses  of  some  of  the  earlier  pageants  in  a  former  chapter.  As 
a  matter  of  comparison,  it  is  interesting  to  recall  that  in  1617,  Middleton  received  £282,  out 
of  which  he  apparently  had  to  provide  the  show;  that  in  1685,  the  four  pageants  cost  £175, 


THE  PARKERIAN  PAGEANT  207 

towns  were  anxious  to  have  them.  Mr.  Parker  emphatically  declares  that  pag 
eants  should  never  be  given  for  an  object  outside  themselves;  he  always  made 
it  a  condition  of  assuming  charge  of  one,  that  the  pageant  should  not  be  given 
for  an  "  object,"  or  charity.  For  either  the  entertainment  is  starved  for  the 
sake  of  profit,  or  there  may  be  no  profit  —  and  then  you  are  ridiculous.  If,  by 
any  chance,  there  should  be  a  profit  at  the  end,  and  the  people  could  all  agree 
on  a  cause,  the  money  could  be  turned  over  to  it;  sometimes  the  profits  from 
his  own  pageants  were  used  to  make  permanent  memorials  of  the  occasions.1 

"  War  seldom  enters,  but  where  wealth  allures  ";  and  it  is  quite  possible 
that  thoughts  centred  on  the  box-office  would  kill  any  esprit  de  mile  (if  I  may 
coin  a  phrase)  which  the  pageant  tends  to  develop;  certain  it  is,  that  pageants 
exploited  by  ticket-agents  and  starved  for  the  sake  of  a  profit  do  not  reach  as 
high  a  plane  as  those  managed  with  no  thought  of  profit.  The  Scottish  National 
Pageant  of  1908 2  was  given  "  in  aid  of  the  Scottish  Children's  League  of  Pity," 
yet  it  has  many  features  which  show  an  influence  from  the  Parkerian  pageant.3 

Whether  we  can  rule  an  entertainment  out  of  the  field  of  pageantry  purely 
because  it  is  given  avowedly  for  a  charitable  object,  or  even  for  the  profit  of  the 
community  (as  the  older  pageants  often  were)  is  doubtful.  The  ideal  pageant, 
perhaps,  has  no  aim  of  this  kind —  does  not  even  seek  to  pay  expenses  —  but 
if  the  show  is,  in  other  ways,  characteristic  of  pageantry,  it  has  a  right  to  con 
sideration;  even  if  the  performers  are  paid,  we  can  only  deny  that  the  produc 
tion  fulfils  the  high  ideals  of  Mr.  Parker.  It  may  have  what  (for  want  of  better 
terms)  we  have  called  the  "  body  "  and  "  soul  "  and  "  technique  "  of  pageantry; 
if  it  lacks  only  the  "  spirit,"  it  lacks  what  is  not  the  least  important  element 
of  modern  pageantry. 


the  flag  and  streamers,  £140,  and  the  poet  received  £10  —  the  total  cost  of  the  show  being 
£473,  ^d.  In  the  days  when  the  only  pageantic  feature  of  the  Lord  Mayor's  Show  was  the 
"  men'in  armor,"  the  cost  averaged  a  hundred  guineas.  Evans,  p.  xxix,  n.  2.,  says  that  the 
average  cost  of  production  of  a  masque  at  the  time  of  James  I  was  £1400  (or  £6000  of  our 
money) ;  but  Shirley's  Triumph  of  Peace,  performed  at  Whitehall  3  February,  1633-4,  by 
the  Inns  of  Court,  cost  much  more.  "  The  Charge  of  the  whole  Masque  which  was  born  by 
the  Societies,  and  by  the  particular  Members  of  it,  was  accounted  to  be  above  one  hundred 
and  twenty  thousand  Pounds."  Whitelocke,  p.  22.  (Cf.  above,  vol.  i,  p.  118.) 

1  An  account  of  the  Army  Pageant,  which  was  opened  at  Fulham  Palace  on  20  June, 
1910,  by  Lord  Roberts,  may  be  found  in  the  Times  for  21  June,  p.  10,  col.  i.    The  main  ob 
ject  of  this  pageant  seems  to  have  been  to  raise  funds  for  the  Soldiers'  and  Sailors'  Help 
Society:  but  "  Lord  Roberts  hopes  that  the  high  ideals  of  the  promoters  of  the  Pageant  will 
instil  a  sense  of  patriotism  into  the  minds  of  the  people,  and  cause  them  to  do  something, 
however  small,  for  the  good  of  their  country."    (Ibid.,  col.  2.) 

2  See  Bibliography,  s.v.  SCOTLAND. 

3  The  legendary,  mythical,  elements  are  mixed  with  considerable  Scottish  history.    From 
the  program  it  is  impossible  to  tell  how  much  speaking  there  was;   it  is  equally  impossible 
to  tell  how  much  patriotic  fervor  was  aroused  by  the  view  of  former  rulers  and  their  courtiers. 
We  do  not  know  what  proportion  of  the  population  —  not  of  Scotland,  but  of  Edinburgh  — 


208  ENGLISH  PAGEANTRY 

§  4.    THE  PAGEANT  AND  THE  STAGE 

I  have  already  said  that  pageantry  has  revealed  many  latent  talents  among 
the  participants;  but  of  the  thousands  of  people  who  passed  through  Mr. 
Parker's  hands  in  connection  with  his  pageants,  only  two  sought  to  go  on  the 
stage.  This  seems  surprising;  but  the  reason  is  fairly  obvious  —  for  the  pageant, 
although  dramatic,  is  far  removed  from  stage  conventions.  The  individual  actor 
is  merged  in  the  effect  produced  by  the  whole  cast ;  there  is  no  opportunity  for 
conceit;  all  are  working  together  for  one  aim.1  Histrionic  ability  counts  for 
little:  many  who  said  shyly  that  they  "  couldn't  act,"  proved  invaluable  be 
cause  they  caught  the  spirit  of  an  historical  character,  and  presented  him  simply 
and  naturally. 

JOHN  PALMER  ON  PAGEANTRY 

Mr.  John  Palmer 2  tells  us  that  "  much  pious  expectation  has  been  aroused 
in  the  minds  of  many  excellent  people  by  local  revivals  of  the  masque  or  pageant. 
Arguing  from  these,  and  from  one  or  two  conspicuously  successful  efforts  to  raise 
crops  of  dramatic  genius  in  villages  of  the  countryside,  it  has  been  rashly  prophe 
sied  that  thither  we  must  look  for  the  true  revival  of  the  English  theatre."  And 
again: 3  "  As  to  the  masques  and  pageants  which  in  the  last  few  years  have 
swept  the  country  like  an  epidemic,  no  one  who  has  borne  a  part  in  these  enter 
prises  is  seriously  able,  on  their  behalf,  to  proclaim  a  national  revival  of  dramatic 
art."  Nor  do  they;  Mr.  Palmer  seems  to  be  unable  to  divorce  the  drama  from 
the  theatre ;  and  he  has  quite  missed  the  real  significance  of  the  interest  in  these 
historical  pageants.  "  The  greater  number  of  these,"  he  continues,  "  were 
country  meetings  of  fashionable  people  playing  the  perennially  delightful  game 
known  to  children  of  all  ages  as  '  dressing-up.'  At  best  they  were  an  elaborate 
fancy-dress  ball."  This,  of  course,  is  untrue  of  the  Parkerian  work;  it  is  hardly 
true  of  even  such  celebrations  as  that  of  Ripon  —  though  it  is,  quite  likely,  a 
just  characterization  of  such  festivals  as  that  at  Grimston  which  preceded  it. 


took  part  in  the  production  of  this  "  pageant ";  it  is  obviously  less  of  a  "  festival  "  than 
The  Masque  of  Learning,  in  that  it  makes  a  more  general  appeal,  and  makes  it  through  the 
history  of  the  nation,  rather  than  through  that  of  an  art.  The  fact  that  it  has  an  ulterior 
aim  —  to  make  money  for  a  charity  —  is  not  enough  to  rule  it  from  pageantry. 

1  In  England  —  and,  to  a  certain  extent  in  America,  —  the  names  of  the  actors  do  not 
appear  on  the  program.    This  tends  to  subordinate  the  individual,  as  well  as  to  emphasize 
the  historical  character  he  represents.    The  audience  does  not  laugh  to  see  the  greengrocer  in 
the  garb  of  a  Roman  general,  or  make  audible  comments  when  Mary  Ann  appears  as  Queen 
Elizabeth.    The  identity  of  the  neighbor  is  sunk  in  that  of  the  personage  he  represents: 
many  who  are  mute  and  inglorious  become  Miltons  for  an  hour.    Is  it  a  wonder  that  life  is 
never  quite  so  humdrum  for  them  after  that? 

2  The  Future  of  the  Theatre,  p.  167. 

3  Ibid,,  pp.  172  f. 


THE  PARKERIAN  PAGEANT  209 

Had  Mr.  Palmer  had  the  pleasure  —  as  I  did  at  York  —  of  falling  into  con 
versation  with  a  shopkeeper  as  he  took  the  air  in  front  of  his  shop,  he  would 
have  seen  —  as  I  did  —  enthusiasm  kindle  as  the  talk  came  round  to  the  pag 
eant;  he  would  have  been  taken  inside,  as  I  was,  to  see  the  spiked  club  which 
my  interlocutor  had,  as  an  "  ancient  Briton,"  wielded  five  years  before;  he 
would  have  heard  eulogies  from  the  burly  dealer  in  antiquities  which  would  have 
made  Mr.  Parker's  kind  heart  beat  a  little  faster  than  usual...  Here  was  no 
"  fashionable  "  person  talking  about  a  "  fancy-dress  ball  "!  Of  course,  he  liked 
the  "  dressing-up  ";  who  doesn't  ?  But  his  chief  joy  was  in  the  new  spirit  the 
pageant  had  brought  to  York;  he  never  for  a  moment  considered  himself  an 
actor,  or  expressed  a  desire  to  go  on  the  stage,  or  even  connected  the  pageant 
with  the  theatre  in  his  mind. 

To  return  to  Palmer:  "At  worst  they  were  conspicuous  instances  of  pre 
cisely  that  deliberate  cult  of  innocence  and  simplicity  which  is  the  last  possible 
quarter  whither  we  should  look  for  a  revival  of  the  arts.  They  correspond  with 
the  activities  of  a  large  class  of  people  who  imagine  they  can  recapture  the  six 
teenth  century  by  writing  '  Merrie  Englande '  upon  invitations  to  a  contest  of 
brass  bands  —  people  .  .  .  who  imagine  they  are  putting  back  the  clocks  of  his 
tory  by  measuring  time  with  a  sundial."  l  They  are  rather  the  result  of  a  popular 
interest  in  the  history  of  England  —  or  of  such  of  it  as  centres  about  a  given 
town.  At  their  best,  they  are  given  by  the  townsfolk  for  the  benefit  of  their 
fellow-citizens  as  well  as  of  themselves ;  and  civic  pride  and  solidarity  follow  the 
lesson.  At  their  worst,  these  pageants  still  teach  a  lesson  in  some  kind  of  history 
(perhaps  not  always  accurate,  because  some  charity  or  business  corporation  is 
seeking  to  make  money)  and  bring  people  together  with  a  common  aim.  They 
are  not  a  fad,  but  a  legitimate  form  of  entertainment  and  instruction  —  they 
are  local  chronicle-histories,  given  by  the  people  and  for  the  people;  they  are  not 
training  grounds  for  theatrical  recruits,  as  Mr.  Palmer  hints ;  nor  do  they  seek 
to  "put  back  the  clocks  of  history." 

PAGEANT  AND  THEATRE 

I  should  add  that  Mr.  Parker  has  told  me  that  managing  a  pageant  is  a  great 
education,  especially  for  stage-managerial  work  and  play- writing.  One  gets  an 
ability  to  turn  almost  anything  into  dialogue;  he  learns  to  save  time,  to  cut  out 
irrelevant  matter,  and  to  write  crisp  speeches.  In  a  later  section,  we  shall  return 
to  the  subject  of  "  pageant-plays  ";  here  it  will  be  sufficient  to  note  that  the 
accuracy  of  the  historical  pageant  has  not  been  unfelt  on  the  stage. 

Mr.  Parker  produced  Henry  VIII,  from  the  pageantic  point  of  view,  for  Sir 
Herbert  Tree,  and  it  had  a  long  run;  we  shall  refer  later  to  his  own  Drake,  and 
Joseph  (which,  as  I  have  noted,  he  calls  "  pageant-plays  ").  Mr.  Ambrose  Lee, 

1  Op.  cit.,  p.  173. 


210  ENGLISH  PAGEANTRY 

the  York  Herald,  directed  "  all  the  ceremonial  of  the  monarch's  crowning,"  and 
"  the  historical  exactness  in  armour  and  heraldry  of  the  knights  and  nobles 
present  in  Rheims  Cathedral,"  when,  in  the  autumn  of  1913,  Raymond  Roze 
produced  at  London  his  opera,  Joan  of  Arc.1  "  The  coronation  of  Charles  VII, 
perhaps  the  most  notable  of  the  splendid  *  living  pictures  '  in  the  opera,  compels 
enthusiastic  applause  by  the  gorgeousness  of  its  many  characters  .  .  ."  Every 
thing  was  reproduced  as  accurately  as  possible,  even  to  "  those  little  hesitancies 
in  the  ceremonial  on  the  stage  upon  which  some  of  the  critics  have  commented," 
which  were  perfectly  in  the  picture  since  no  rehearsal  of  the  ceremony  took  place. 
"  In  the  prologue  of  Mr.  Raymond  Roze's  opera  there  is  an  accurate  representa 
tion  of  Joan's  birthplace  and  home."  2 

This  accuracy,  sometimes  seen  in  plays  of  a  "  pageantic  "  character,  is  un 
doubtedly  due  to  the  growth  of  interest  in  a  careful  reproduction  of  the  past 
which  owes  its  origin  to  the  historical  pageant. 


§  5.  THE  STRUCTURE  OF  THE  PAGEANT 

Unlike  the  peripatetic  shows  of  earlier  years,  the  cars  of  which  were  rarely 
related  to  each  other,  this  modern  procession  of  events  across  an  out-door  arena 
is  bound  together  by  a  central  idea.  Each  scene,  which  relates  some  past  event 
in  the  history  of  the  place,  is  called  an  "  episode  "  3 —  it  is  not  unlike  an  act  in 
a  play,  the  plot  of  which  is  the  history  of  the  town.4  Of  course  the  dramatis 
persona  change  with  the  centuries ;  the  place  is  the  one  thing  which  gives  con 
tinuity  to  the  performance;  the  "  acts  "  are  frankly  episodic  —  hence  their 
name. 

There  are  eleven  episodes  in  the  Sherborne  Pageant,  all  of  which  are,  of  course,  closely 
connected  with  the  history  of  the  place.  The  first  is  "  The  Coming  of  Ealdhelm,"  705;  the 
second,  "  The  Defeat  of  the  Danes,"  854;  the  third,  "  The  Death  of  Ethelbald,  and  the  Com 
ing  of  Alfred,"  860;  the  fourth,  "  The  Benedictine  Rule  introduced  at  Sherborne,"  998;  the 
fifth,  "  William  the  Conqueror  removes  the  See  to  Sarum,"  1075;  the  sixth,  "  Roger  of  Caen 
lays  the  Foundation-Stone  of  the  Castle,"  1107;  the  seventh,  "The  Quarrel  between  the 
Town  and  the  Monastery,"  1437;  the  eighth,  "The  Foundation  of  the  Almshouse,"  1437. 
This  is  preceded  by  a  Morris  Dance,  in  which  Robin  Hood,  Maid  Marian,  and  their  band  take 
part;  they  play  a  small  part  in  the  action  of  the  seventh  episode.  The  ninth,  "  The  Ex 
pulsion  of  the  Monks,"  takes  place  in  1539;  the  tenth,  "  The  School  Receives  its  Charter," 
in  1550;  and  the  eleventh,  "  Sir  Walter  Raleigh  comes  to  Sherborne,"  in  1593. 


1  See  the  London  Standard  of  5  November,  1913,  for  "  The  York  Herald's  Explanation 
of  the  Pageants  "  —  as  the  headline-writer  calls  the  "  living-pictures  "  of  this  opera. 

2  Ibid. 

3  In  Mr.  Lascelles's  Quebec  Pageant  these  scenes  are  called  "  pageants  "  —  as  if  they 
were  the  successors  of  earlier  cars  or  platforms;    but  most  "  pageanters  "  call  them  "  epi 
sodes."    Sometimes  they  are  divided  into  scenes  —  cf.  Mr.  Parker's  York  Pageant. 

4  See  below,  p.  291. 


THE  PARKERIAN  PAGEANT  21 1 

Between  every  two  episodes  is  a  selection  by  the  orchestra,  followed  by  a  few 
lines  from  the  Narrative  Chorus,  who  tell  briefly  what  has  happened  since  the 
last  "  act,"  or  prepare  for  the  scene  to  come.1  At  the  end  of  the  last  episode, 
"  the  chorus  rise  from  their  seats  and  sing  the  Triumph  Song,"  2  and  while  they 
sing,  a  Maypole  has  been  set  up  immediately  behind  them.  The  Dramatic 
Choir  march  on,  and  with  them,  a  troop  of  children  dressed  as  shepherds  and 
shepherdesses;  the  choir  sings  "  With  a  Laugh  as  we  go  round,"  from  The  May 
Queen,  to  which  the  children  dance  a  Maypole  Dance.3 

Then  comes  the  Final  Picture. 

A  stately  Figure  symbolical  of  Sherborne  has  been  raised  on  a  pedestal  in  the  centre  of 
the  Quadrangle.  In  one  hand  she  bears  a  model  of  Sherborne  Abbey;  the  other  reposes  on 
a  shield  bearing  the  arms  of  the  School.  On  her  right  stands  her  daughter,  the  American 
Sherborn,  bearing  in  her  hand  the  model  of  a  caravel,  and  resting  the  other  on  the  arms  of 
the  State  of  Massachusetts.  Now  the  School  marches  through  the  crowd,  singing  the  Car 
men  Saculare  (the  Sherborne  School  song)  .  .  .  Then  the  combined  Orchestras  and  Choirs 
play  and  sing  the  march  in  Tannhauser,  while  all  the  characters  of  the  previous  episodes 
assemble  round  the  pedestal.  All  the  Performers  together  with  the  audience  sing  the  first 
verse  of  the  Hundredth  Psalm  .  .  .  Now  the  Herald  steps  forward,  and  in  a  loud  voice  reads 
a  Message  of  Greeting  from  Sherborn,  Massachusetts,  after  which  Performers  and  Audience 
sing  the  National  Anthem.4 

This  is  followed  by  the  final  processional  march. 

This  pageant  is  an  important  one,  for  it  was  the  model  on  which  Mr.  Parker 
built  his  others,  and  after  which  —  to  a  greater  or  less  extent  —  his  fellow  pag 
eant-masters  in  England  constructed  theirs,  though,  as  we  shall  see,  there  is 
considerable  latitude  in  details.  It  combines  drama,  procession,  and  dance; 
each  episode  tells  a  complete,  if  simple,  story; 6  though  the  procession  does  not 
wend  its  way  through  the  streets  of  the  town,  it  is  none  the  less  a  procession; 
and  the  masque-features  of  music  and  dancing,  which  are  scattered  through  the 
entertainment,  give  variety. 

As  the  performance  takes  place  on  one  spot,  before  the  same  audience,  it 
allows  the  use  of  narrative  dialogue;  but  the  acting  and  speaking  are  of  the 
simplest,  the  effects  coming  rather  from  the  mass  than  the  individual.  The 

1  Mr.  Parker  has  explained  that  the  Narrative  Chorus  in  his  pageants  has  the  function 
of  the  Greek  chorus  to  a  certain  extent.     It  fills  up  the  space  between  episodes  —  suggesting 
the  passage  of  time  —  as  well  as  introducing  each  one  and  commenting  upon  it. 

2  Book  of  the  Pageant,  p.  37;  Mr.  Parker  wrote  the  music;  Mr.  Rhoades  the  poem. 

3  This  serves  to  connect  the  modern  pageant  with  such  May -day  festivals  as  that  at 
Knutsford.    The  suggestion  of  folk-revels  here  and  in  the  Morris  Dance  of  Robin  Hood  recall 
other  celebrations,  not  in  themselves  pageantic. 

4  Book  of  the  Sherborne  Pageant,  pp.  38  f.     In  later  pageants,  the  representatives  of 
American  cities  were  commonly  delegates  from  America. 

6  In  their  relation  to  the  whole,  these  "  acts  "  remind  us  of  the  single  plays  that  go  to 
make  up  a  miracle-play  cycle;  indeed,  pageantry  is  in  much  the  same  stage  of  its  existence 
as  the  drama  in  the  days  of  the  miracle-play. 


212  ENGLISH  PAGEANTRY 

"  body  "  of  the  older  pageantry  has  disappeared;  but  the  "  soul  "  remains,  as 
does  the  wide,  popular  appeal  which  was  the  "  spirit  "  of  the  earlier  pageant. 
As  for  "  technique,"  the  modern  work  has  drawn  on  dance,  procession,  and  the 
drama  itself,  and  so  is  a  mixture  of  masque,  the  older  pageant,  and  the  play;  and 
in  this  mixture  the  last  element  is  the  strongest. 

A  common,  but  not  essential,  accompaniment  of  the  modern  pageant,  is  the 
commemorative  service  often  held  in  connection  with  it,  not  only  in  England, 
but  also  in  America.  Writing  in  1910,,  Mr.  Parker  had  called  a  pageant,  "  part 
of  the  great  Festival  of  Thanksgiving  to  Almighty  God  for  the  past  glory  of  a 
city  and  for  its  present  prosperity.  Such  an  interpretation  removes  the  whole 
thing  at  once  to  a  high  plane  and  out  of  the  atmosphere  of  the  mere  spectacular 
entertainment.  The  actual  pageant  should  be  —  in  the  case  of  my  pageants 
it  always  has  been  —  opened  and  closed  by  great  commemorative  services  on 
the  previous  and  concluding  Sundays  in  all  the  places  of  worship."  x 

§  6.    THE  ELEMENTS  OF  THE  PAGEANT 
THE  QUALITY,  THE  TYPE,  AND  THE  INDIVIDUAL 

There  is  a  certain  amount  of  symbolism  in  modern  pageantry,  and  it  would 
be  hard  to  prove  there  was  no  connection  between  it  and  that  of  the  older  show.2 
The  allegory  which  we  found  in  the  earlier  pageant  has,  naturally  enough,  al 
most  entirely  disappeared  from  these  historical  "  folk-plays  ";  in  the  former, 
every  character  remained  symbolic  because  he  could  not,  under  the  circumstances 


1  New  Boston,  for  November,  1910,  p.  296.    In  1905,  Mr.  Parker  had  said  (in  the  Journal 
Soc.  Arts,  liv,  p.  144) :  "  I  confess  I  cannot  conceive  a  pageant  except  as  an  incident  in  a  great 
act  of  praise  and  thanksgiving  ..." 

Quite  the  opposite  view  is  held  by  Mr.  Gilbert  Hudson,  the  master  of  several  Yorkshire 
pageants,  who  writes,  in  a  letter  of  2  December,  1918:  "...  In  some  of  the  Pageants,  stress 
was  laid  by  the  person  or  persons  in  command  on  the  theory  that  the  Undertaking  and  Per 
formance  should  be  regarded  as  a  Religious  Civic  affair;  and  in  one  case  at  least  the  proceed 
ings  were  ushered  in  by  a  special  cathedral  service. 

"  This  strikes  me  as  profane  nonsense,  indicating  (dare  I  suggest  it  ?)  some  solemn  quack 
ery  on  the  part  of  the  Instigator  (perhaps  of  the  Pageant  Master  in  the  first  instance)  and 
an  unwise  enthusiastic  credulity  in  the  people.  I  agree  that  a  reverent  and  lofty  ideal  is  to  be 
held  and  worked  for,  but  to  mix  up  the  methods  of  a  Pageant  Play  with  the  ceremonies  of  a 
Church,  seems  an  undesirable  reversion  to  the  grotesque  pietism  (which  now  affects  us  almost 
as  sheer  blasphemy)  of  the  worser  medieval  Mystery  plays. 

"  Therefore,  as  far  as  direct  religious  expression  was  concerned,  I  favored  only  the  singing 
of  a  hymn  by  audience  and  performers  at  the  end  of  the  performance.  And  no  hymn  is  fitter 
for  all  denominations  to  join  in  than  '  O,  God,  our  help  in  ages  past.'  ': 

2  I  do  not  mean  that  Mr.  Parker  took  it  directly  from  the  Lord  Mayor's  pageants.    It 
may  well  have  been  an  unconscious  borrowing,  or  even  an  indirect  one;   it  is  also  possible, 
of  course,  that  the  same  forces  which  were  responsible  for  its  earlier  birth  gave  it  an  inde 
pendent  life  —  one  entirely  unconnected  with  the  earlier  symbolism. 


THE  PARKERIAN  PAGEANT  213 

of  the  presentation,  be  individualized.  Fame,  Honor,  Envy,  and  Error  must  re 
main,  in  a  street  procession,  qualities  rather  than  persons.  Even  in  Jordan's 
interludes,  the  characterization  was  so  slight,  that  the  countryman  Hoyden  and 
the  citizen  Freeman  suggest  rather  Rus  and  Urbs  than  Tony  Lumpkin  and  Simon 
Eyre.1 

Was  not  this  the  case  with  the  interludes  of  John  Heywood  ?  The  Pedlar 
and  the  Pothecary  are  types,  rather  than  individuals;  and  the  abstractions  of 
the  morality-play  were  types.  As  soon  as  they  became  individuals,  we  ceased  to 
have  either  morality-play  or  interlude  (for  the  latter  is,  after  all,  only  a  morality- 
play  with  the  moral  aim  left  out) ;  we  ceased  to  deal  with  abstractions  or  types 
and  got  straight  drama.  No  play  can  tell  more  of  a  story  than  a  morality  like 
The  Nice  Wanton;  the  difference  between  the  play  and  the  morality  being  that 
in  the  former  the  story  is  told  by  individuals;  in  the  latter,  by  types.  It  is  ob 
vious  that  the  more  the  characters  are  individualized,  the  higher  is  the  form  of 
art  —  the  further  it  is  from  farce  or  melodrama. 

REASONS  FOR  THE  DISAPPEARANCE  OF  ALLEGORY 

From  modern  pageantry  allegory  has  practically  disappeared;  this  is  due  to 
three  reasons.  First,  the  pageant  is  given  on  one  spot,  so  that  all  the  onlookers 
can  see  everything  that  happens.  This  gives  a  chance  for  characterization  which 
the  Lord  Mayor's  Show  did  not  have.  In  the  second  place,  the  emphasis  is  on 
history;  and  to  make  history  live,  the  historical  characters  must  be  alive.  This 
was  known  to  the  writers  of  the  seventeenth-century  civic  shows,  who  presented 
historical  characters  to  their  public,  rather  than  allegorical  abstractions,  when 
they  wished  to  recall  the  glorious  past  of  the  Mayor's  Company.  Even  these 
historical  characters,  however,  were  usually  little  more  than  appropriately 
dressed  and  labelled  lay-figures;  the  technique  of  the  modern  pageant  enables 
us  not  merely  to  see  the  famous  men  of  the  past  ride  through  the  streets:  we 
can  see  them  doing  something  which  their  prototype  had  done;  we  can  assist 
at  the  reproduction  of  an  historical  moment. 

In  the  third  place,  the  episodes  of  a  modern  pageant  are  dramatic,  and  a 
character  hi  the  drama  is  an  individual.  The  more  dramatic  the  Lord  Mayor's 
Shows  became,  the  more  the  characters  drew  away  from  allegory.  Consider, 
for  instance,  the  1613  Show  of  Middleton's:  there  is  a  certain  amount  of  drama 
in  the  strife  between  Truth  and  Error  —  between  Envy  and  Zeal ;  and  as  they 
fight,  these  characters  tend  to  get  away  from  pure  allegory.2  They  didn't,  it  is 
true,  get  far;  but  we  must  remember  that  conditions  were  such  that  they  couldn't. 

1  Of  course  I  use  these  names  merely  as  representatives  of  countryman  and  citizen  who 
are  alive  —  as  antitheses  to  Rus  and  Urbs. 

2  What  they  are  called  makes  no  difference.    You  can  name  a  character  Worldly  Shame, 
or  Pecunius  Lucre,  or  Charles  Marlow  —  it  is  all  the  same.    What  matters,  is  what  he  does 
—  or  rather,  what  he  is.    Error  may  be  an  individual;  Audrey  a  type. 


214  ENGLISH  PAGEANTRY 

The  modern  English  pageant  is  not  a  morality-play.  Even  in  the  days  of 
the  morality-play,  the  types  tended  to  become  individuals  —  the  natural  tend 
ency  on  the  stage.  But  Zeal  and  Envy,  in  1613,  were  not  on  the  stage.  In  the 
older  pageantry,  the  types  remained  types  because  action  was  systematically 
shut  out,  and  speech  rigidly  restricted  to  conventional  flattery. 

The  little  allegory  and  symbolism  which  survive  in  modern  pageants  are  con 
fined  to  the  final  picture,  or  to  the  narrative  chorus  —  the  parts  of  the  pageant 
where  action  is  in  its  lowest  terms.1  It  is  interesting  here  to  note  the  strange 
assortment  of  characters  which  appeared  in  the  Scottish  National  Pageant  of 
1908,  to  which  I  have  before  alluded.  We  find  here  such  figures  as  the  River 
Forth,  Edinburgh  —  with  Divinity,  Law,  Learning,  Medicine,  Valor,  Commerce, 
Agriculture,  Science,  and  various  Arts  —  accompanied  by  a  Monk,  a  Nun, 
Doctors  of  Divinity  and  Medicine,  a  Judge,  Justice,  Drama,  and  Music;  and 
the  Burghs  of  Scotland.  There  were  also  Celtic  gods,  Spirits  of  Light,  Life  and 
Joy,  Demons,  Goblins,  Mortals,  the  Cuchulainn  Cycle,  the  Ossianic  Cycle,  the 
Arthurian  Legend,  Romans,  Vikings,  and  a  group  representing  the  Early  Church. 
Then  came  historical  groups  from  Malcolm  III  to  "  the  Jacobite  group  of  the 
'  1745,'  "  including  various  English  sovereigns  between  James  I  and  George  II. 
What  these  figures  did,  is  not  clear  from  the  program;  they  may  not  have  done 
more  than  march  on  —  or  across  —  the  stage,  though  it  is  more  likely  that  each 
group  took  part  in  some  kind  of  dance.  At  all  events,  there  was  no  historical 
play  here :  the  cast  suggests  a  cross  between  the  masque  and  the  older  pageant.2 
The  influence  of  the  Parkerian  pageantry  seems  slight.3 

SYMBOLISM  IN  THE  PARKERIAN  PAGEANT 

In  the  so-called  "  futuristic  pageants  "  of  the  United  States,  which  we  shall 
treat  anon,  there  is  much  more  allegory  than  in  the  English  historical  pageants; 
but  in  the  latter  a  certain  amount  of  symbolism  persists.  The  figures  personi 
fying  the  towns  in  the  Final  Pictures  lack  individuality;  these  have  come  down 
from  the  London  and  Britannia  of  the  older  "  triumphs."  After  the  historical 
scenes,  which  give  the  audience  a  personal  touch  with  the  past  through  the  indi 
viduals  they  have  seen  in  each  episode,  comes  the  final  symbolism.  We  have 
already  mentioned  the  figure  of  Sherborne ; 4  Hope  and  Colcestria  have  a  short 
dialogue  just  before  the  "  Final  Tableau  "  of  the  Colchester  Pageant; 5  at  the 


1  In  the  narrative  chorus  of  the  York  Pageant  —  to  cite  an  example  —  semi-chorus  I 
represents  Memory  and  semi-chorus  II,  Hope  (Book  of  Words,  p.  3).    We  shall  return  to  sym 
bolism  in  a  moment. 

2  The  Masque  of  the  Seasons,  which  was  part  of  this  pageant,  will  be  treated  later,  (see 
below,  p.  223  f.). 

3  Perhaps  it  was  to  shows  of  this  kind  that  Mr.  Palmer's  remarks  which  I  have  cited, 
applied. 

4  See  above,  p.  211.  6  Book  of  Words,  pp.  65  f. 


THE  PARKERIAN  PAGEANT  215 

end  of  the  Dover  Pageant,  "  Enter  Dover  with  the  forty-four  American  and 
Colonial  Dovers  "; *  at  Warwick,  "  now  enter  the  fourteen  Colonial  and  Ameri 
can  Warwicks,  represented  by  young  girls  in  appropriate  costume.  Lastly,  enter 
a  Stately  Figure  representing  Warwick."  2  Here  we  have  pure  symbolism;  and 
it  is  exactly  like  that  which  we  find  in  the  Lord  Mayor's  Show  for  the  year  1631, 
when  London  was  surrounded  by  Westminster,  York,  Bristol,  Oxford  and  Exeter. 
With  the  exception  of  this  personification  —  which,  after  all,  is  symbolism,  in 
sofar  as  it  stands  for  cities  —  Mr.  Parker  does  not  favor  inserting  symbolical 
figures  into  historical  pageants.  We  shall  discuss,  in  the  next  chapter,  the  "  fu 
turistic  pageant  "  so  common  in  the  United  States;  Mr.  Parker,  maintaining, 
as  he  does,  that  history  is  the  most  important  element  of  pageantry,  cannot 
advocate  a  substitution  of  allegory  or  symbolism.3 

RIVERS  PERSONIFIED  AND  INDIVIDUALIZED 

Rivers,  especially  the  Thames,  were  personified  often  enough  in  the  seven 
teenth-century  Lord  Mayor's  Shows ; 4  we  find  them  in  the  historical  pageants 
of  the  twentieth  century.  Thames  and  Tide,  who  spoke  the  narrative  links  in 
the  Chelsea  Pageant,  were  characterized  very  slightly;  and  hi  the  Introduction 
to  the  Chester  Pageant  —  which  "  contains  a  good  deal  that  was  written  by 
Jqhn  Milton  " 5  —  the  "  persons  "  represented  were  Chester,  the  Gates,  the  Pin 
nacles,  the  Walls,  Attendants  on  Chester,  the  Dee,  with  nymphs,  Tritons,  and 
fairies  of  the  banks ;  here  also  there  is  little  characterization. 


1  Book  of  the  Dover  Pageant,  p.  69. 

2  Book  of  the  Warwick  Pageant,  p.  60.    Thirty  American  girls  took  part  in  this  pageant. 
At  Bath,  the  American  girls,  "  special  envoys  from  the  United  States,"  represented  towns  in 
Maine,  New  York,  Illinois,  New  Hampshire,  the  Carolinas,  South  Dakota ,  Ohio,  Kentucky, 
Missouri,  Pennsylvania,  and  Michigan.    "  Two  maidens  representing  the  Canadian  Baths  .  .  . 
make  their  way  towards  the  Mother  Bath  "  (Book  of  the  Bath  Pageant,  pp.  70  f.). 

New  York  and  Yorks  situated  in  Tasmania,  Alabama,  Maine,  Illinois,  Nebraska,  Pennsyl 
vania,  Queensland,  Minnesota,  North  Dakota,  Kentucky,  Sierra  Leone,  Virginia,  Ohio,  and 
Ontario  —  besides  Toronto,  once  called  York  —  were  represented  at  the  York  Pageant 
(see  Solloway's  volume,  p.  73,  n.). 

3  Both,  or  all  three,  elements  were  hospitably  received  by  the  older  pageantry.    Cf.  above, 
vol.  i,  p.  220,  for  the  account  of  Maria  de'  Medici's  reception  at  Avignon  in  1600.    On  this 
occasion  we  find  the  past  of  the  city  happily  linked  to  its  royal  guests,  by  the  introduction 
of  those  ancestors  of  both  king  and  queen  who  played  a  part  in  the  history  of  the  town:  and 
we  noted  a  touch  of  "  futurism."    (It  is  rare  that  the  future  is  suggested  by  anything  except 
allegory  or  symbolism.    Can  one  call  the  little  Henri  V  "  history  "  ?) 

4  It  is  enough  to  recall  the  Thames,  Severn,  and  Humber  in  1605;   the  Boyne,  Shannon, 
Rhine,  and  Danube  ("  signifying  the  present  seats  or  scenes  of  war,  of  which  the  entire  pageant 
is  an  emblem  ")  in  1691;  the  Thames,  Tiber,  and  Indus  in  1694;  Neptune  with  the  Thames, 
Danube,  Rhine,  and  Tiber  in  1701;    the  Thames  in  1585,  and  in  the  1604  "royal-entry." 
Cf.  also  the  Forth  at  Edinburgh  in  1908.    (See  above,  p.  214.) 

5  Mr.  Hawtrey's  Foreword:  see  the  Book  of  the  Chester  Pageant,  p.  n. 


21 6  ENGLISH  PAGEANTRY 

THE  RIVERS  AND  STREAMS  OF  GLOUCESTERSHIRE 

But  the  Gloucestershire  Pageant  demands  more  attention.  Here  the  Chorus 
is  made  up  of  the  Rivers  and  Streams  of  the  county.  They  were  rowed  in  boats 
upon  the  lake  which  stretched  along  the  foot  of  the  grandstand ;  and  they  came 
to  and  fro  between  the  episodes,  singing  their  songs  and  making  the  necessary 
explanations.1  It  matters  not  so  much  whether  or  not  Mr.  Hawtrey  were  di 
rectly  influenced  by  the  personification  of  rivers  in  the  older  show;  for  here  the 
Rivers  are  characterized,  and  therefore  tend  away  from  the  symbolism  which 
pervaded  it. 

The  four  principal  Rivers  —  the  Thames,  Sabrina,  Avona,  and  the  Chelt  — 
are  attended  by  various  other  Rivers  and  Streams  of  the  shire,  grouped  in  large 
boats.  Father  Thames  speaks  the  opening  words;  and  as  he  says,  "  We  are  the 
streams  and  rivers  that  do  flow  through  Gloucestershire,"  the  Chelt  interrupts 
importantly  - 

"  I  am  the  Chelt. 

Thames:  Peace,  unimportant  brook! 

Chelt:         I  unimportant!   Isn't  Cheltenham  on  the  Chelt  ? 
Thames:    This  is  Sabrina  . . . 
And  this  Avona  .  .  . 

I'm  Father  Thames  ...  a  true-born  son  of  Gloucestershire. 
This  little  fellow  is  the  Chelt. 
Chelt:  All  right! 

I  told  them  that.     You  don't  think  they  forget. 
Thames:    All  these  around  us  are  our  tributaries; 
Whose  tuneful  flow  of  rippling  harmonies 
Will  soothe  the  ear  with  sweet  old  English  songs. 
Chelt:        They  are  the  small  fry. 
Sabrina:  Silence,  little  Chelt." 

Here  is  characterization  obvious  in  the  dialogue;  we  see  the  dignified  figure 
of  the  Thames,  and  the  pert  Chelt,  full  of  his  own  importance,  hardly  bigger 
than  a  tributary.  This  characterization  is  kept  up  between  each  episode;  one 
or  two  more  citations  will  suffice  to  show  how  far  from  symbolism  we  are  taken. 

Before  the  sixth  episode,  which  is  an  "  abbreviated  scene  "  from  Comus, 
Thames  reads : 

"Sabrina:  an  abbreviated  scene  from  '  Comus/  by  John  Milton  — 
Chelt:  Who  was  he  ? 

Sabrina:    You  ignorant,  uneducated  boy! 


1  Mr.  Hawtrey,  in  his  Foreword,  says:  "  The  task  of  explaining  the  subject  of  each  episode 
in  its  turn  is  usually  entrusted  to  a  Narrative  Chorus.  I  have  ventured  to  make  a  slight 
change.  The  Chorus  sing  old  English  songs,  or  glees,  not  necessarily  bearing  on  the  following 
episode:  while  the  explanation  of  what  is  to  come  is  undertaken  by  representatives  of  Glouces 
tershire  rivers  who  tell  their  tale  in  spoken  dialogue." 


THE  PARKERIAN  PAGEANT  217 

Avona:      Oh,  Chelt!  You've  not  read  '  Comus  '? 
Chelt:  No.    Have  you? 

Avona:       Have  I  ?    How  dare  you  ask  ?    Please,  Father  Thames, 

Unfold  the  tale,  in  case  there  should  be  any 

Beside  this  infant  here,  who  know  it  not. 
Thames:     .  .  .  Sabrina,  beauteous  stream,  whom  Milton  loved, 

She,  she  alone,  has  power  to  give  release. 
Chelt:         I  wonder  Milton  never  thought  of  me. 
Avona:       Conceited  little  Chelt,  I  don't  suppose 

He  ever  heard  of  you. 
Chelt:  He  must  have  been 

An  ignorant,  uneducated  man."  1 

And  again,  introducing  Episode  viii  —  the  visit  of  George  III  to  Cheltenham 
in  1788- 

"  Thames:     Now  comes  the  reign  of  George  the  Third,  a  King 
Whose  memory  we  in  Cheltenham  hold  dear. 
Chelt,  you  shall  tell  the  reason  why. 
Chelt:  All  right. 

King  George  the  Third  together  with  his  Queen  and  their  three  daughters 
Came  to  this  town  when  he  was  ill  and  drank  the  Cheltenham  waters, 
And  to  these  waters  George  the  Third  declared  himself  a  debtor, 
Because  he  very  soon  became  considerably  better."  2 

Here  is  characterization  which  has  killed  symbolism:  we  do  not  see  rivers, 
but  four  inhabitants  of  the  county,  acting  as  chorus.  The  Chelt,  with  his  roguish 
conceit  and  impertinent  interruptions,  is  akin  to  the  morality  "  Vice  ";  and  the 
Vice  was  one  of  the  first  characters  in  the  morality-play  to  become  human. 

In  the  various  figures  of  the  cities,  we  have  symbolism  preserved;  and  some 
of  the  rivers  remind  us  of  predecessors  in  the  Lord  Mayor's  Shows.  All  this 
symbolism  is,  however,  confined  to  the  Narrative  Chorus  or  the  Final  Picture; 
and  in  the  Gloucestershire  Pageant  the  characterization  which  has  taken  history 
from  the  hands  of  lay-figures,  has  crept  into  the  narrative  chorus  and  banished 
symbolism. 

THE  HISTORICAL  ELEMENT  IN  THE  PARKERIAN  PAGEANT 

We  have  already  mentioned  the  part  which  early  British  history  played  in 
the  "  royal-entry  "  and  Lord  Mayor's  Show  of  past  centuries;  in  the  Parkerian 
pageant  it  is,  obviously,  important.3  If  some  of  the  history  here  made  vivid  is 


1  Book  of  the  Gloucestershire  Pageant,  pp.  60  f . 

2  Ibid.,  pp.  74  f. 

3  The  Warwick  Pageant  is  introduced  by  Druids;   the  Roman  occupation  of  York  forms 
the  matter  for  the  second  episode  of  that  pageant,  in  which  Cartismandua  and  Caradoc  ap 
pear;    Caractacus  appears  in  the  Gloucestershire  Pageant;    Cymbeline  and  Caradoc  (or 
Caractacus)  appear  in  the  first  episode  of  the  Warwick  Pageant,  and,  with  Gwyddyr,  in  the 


21 8  ENGLISH  PAGEANTRY 

not  strictly  accurate,  we  can  hardly  blame  the  pageant-masters;  for,  since  the 
days  of  Geoffrey  of  Monmouth,  we  have  almost  adopted  the  mythical  history 
of  Britain  as  if  it  were  fact.1 

The  Colchester  Oyster  makes  its  first  appearance  in  the  first  episode  of  the 
pageant  of  that  city,  when  the  Britons  discover  the  bivalve,  and  that  it  is  good 
to  eat.2  The  story  of  the  Bear  and  the  Ragged  Staff  is  dramatically  told  in  the 
second  episode  of  the  Warwick  Pageant,3  and  Gwar  says:  "  Now,  look  you,  this 
.  .  .  shall  henceforth  be  our  escutcheon,  that  all  men  seeing  it  shall  dread  War 
wick's  fist."  How  Dover  got  the  motto  Invicta  is  told  in  the  second  episode  of 
the  Dover  Pageant.4  Thus  is  history  vivified. 

THE  PAGEANT  is  A  MODERN  CHRONICLE-PLAY 

Modern  pageants  bear  much  the  same  relation  to  us  that  the  chronicle-play 
bore  to  the  Elizabethan  audience.5  The  "  historical  exposition  "  is  the  soul  of 
the  Parkerian  pageant;  and,  this  being  the  case,  the  dialogue  is  important. 
Some  there  are,  in  America,  who  maintain  that  a  pageant  should  be  wordless, 
because  hi  many  cases  it  is  impossible  for  the  audience  to  hear;  the  Englishman 
feels  that  speech  is  so  important  that  the  audience  should  be  restricted  to  those 
who  can  get  within  earshot. 

In  the  Sherborne  Pageant,  Ealdhelm  asks  the  chieftain,  pointing  to  the  spring, 
"  My  son,  by  what  name  is  this  water  known  ?  "  And  the  chieftain  replies, 
"  Sir,  in  our  ancient  tongue  we  call  this  water  the  Scir  Burn  —  the  clear  stream. 
It  is  a  holy  place."  Thus  the  audience  gets  an  etymological  lesson  with  its 
history.  It  is  obvious  that  the  dialogue  is  important. 

OLDER  CHRONICLE-PLAYS  MAKE  CONTRIBUTIONS  TO  THE  NEW 

Many  of  the  older  chronicle-plays  are  drawn  upon  by  the  modern  pageant. 
In  the  York  Pageant  a  condensed  version  of  the  Chandlers'  play  of  the  Angels 

Colchester  Pageant  —  which  also  includes,  in  a  later  scene,  Boadicea,  who  is  shown  in  the 
first  episode  of  the  Bury  Pageant. 

I  may  note  that  Taliesin  appears  before  the  Knights  of  the  Round  Table  in  Mr.  Monck's 
pageant-play  of  King  Arthur,  before  alluded  to. 

1  The  Trojans  under  Ebrauc  appeared  in  the  first  episode  of  the  York  Pageant.  (See 
Solloway's  volume,  p.  6,  and  the  Book  of  Words,  pp.  10  f.)  Bladud  appeared  in  the  Bath 
Pageant  of  1909  —  as  a  character  in  a  masque.  (See  the  Book  of  the  Bath  Pageant,  pp.  41  f.) 

*  Book  of  Words,  pp.  9  f.  The  oysterbeds,  ("  fisheries  ")  play  a  considerable  part  in  the 
pageant;  "  The  Song  of  the  Oyster  "  (Book  of  Words,  p.  51)  — written  by  the  Mayor  of 
Colchester  —  was  introduced  while  Queen  Elizabeth  is  at  the  Oyster  Feast. 

3  Book  of  the  Warwick  Pageant,  pp.  n  f.  4  Book  of  the  Dover  Pageant,  pp.  15  f. 

5  Professor  Baker,  writing  in  New  Boston  (Nov.  1910)  p.  296,  remarks  that  modern 
pageantry  "  seems  likely  to  be  for  us  (in  America)  a  combination  of  the  Chronicle  Play  and 
the  Morality."    In  England,  the  emphasis  is  on  history;   as  we  shall  see,  America  permits 
much  more  allegory. 

6  Book  of  the  Sherborne  Pageant,  p.  14. 


O    ~c 


o  — 

u 

w 

fi 


THE  PARKERIAN  PAGEANT  219 

and  the  Shepherds  was  given  in  the  closing  scene  of  the  fifth  episode;  the  text 
was  made  from  Miss  Smith's  York  Mystery  Plays,1  and  the  scene  was  presented 
on  a  reproduction  of  a  miracle-play  pageant.  This  interesting  union  of  the  old 
and  new  pageants  is  noteworthy.2 

One  of  the  episodes  of  the  Warwick  Pageant,  "  based  on  scenes  from  Marlowe's 
Edward  the  Second"  tells  the  story  of  Piers  Gaveston  in  five  pages; 3  episode  v 
of  the  Dover  Pageant  is  "  compressed  "  from  Henry  V; 4  episode  iv  of  the 
Gloucestershire  Pageant  is  3  Henry  VI,  v,  5; 5  and  episode  vi  of  the  Bury  Pag 
eant  is  a  "  greatly  condensed  "  version  of  2  Henry  VI,  iii,  i.6  No  clearer  evidence 
could  be  desired,  of  the  fact  that  the  English  pageant-masters  feel  that  they  are 
doing  the  task  of  a  chronicle-playwright. 

The  reason  that  these  pageants  cannot  be  called  "  chronicle-plays  "  -  allow 
ing  for  a  change  in  the  method  of  presentation  —  is  that  they  deal  with  a  place, 
whereas  the  chronicle-play  presents  the  history  of  a  person.  The  method  of 
treatment  is  the  same,  but  the  matter  treated  is  different.  And  it  might  be 
confusing  to  class  them  together,  especially  as  there  is  such  a  divergence  in  the 
manner  of  presentation;  though  both  have  the  "  noble  Patriotism  "  which 
Carlyle  attributes  to  the  one. 

COMEDY  AND  HISTORY  COMBINED 

Just  as  Shakspere  mingled  comedy  and  history  in  Henry  IV,  so  Parker,  in 
the  second  episode  of  the  Dover  Pageant  combines  with  history  a  dash  of  comedy : 

"  Odo:     .  .  .  Wherefore,  Seneschal,  summon  the  Cinque  Ports. 
Zack:   What's  cinque  ? 
Hob:     How  many  fingers  hast  thou  on  the  right  hand? 


1  See  the  Book  of  Words,  pp.  98  f.,  and  T.  P.  Cooper's  article  on  the  Armorial  bearings  of 
the  craft  guilds  and  companies  in  the  Book  of  the  pageant  (mentioned  in  the  Bibliography, 
s.v.  YORK). 

It  may  be  noted  that  the  tenth  scene  of  the  first  part  of  the  English  Church  Pageant, 
showed  a  "  Miracle  Play  and  Pilgrimage  Scene,  c.  1350."  The  episode  was  divided  into  two 
parts,  the  first  of  which  pictured  "  the  market  place  of  a  country  town,  crowded  with  people. 
A  band  of  pilgrims,  on  their  way  to  the  shrine  of  St.  Thomas,  are  among  them,  and  while 
they  talk  a  cart  enters,  drawn  by  two  oxen,  bearing  the  curtained  stage  of  a  miracle  play. 
The  curtains  are  soon  drawn  and  the  Chester  Miracle  Play  of  the  Shepherds  is  performed. 
At  the  end  the  cart  is  drawn  off,  and  the  pilgrims  go  out  singing."  (Program  of  the  pageant, 
p.  n.) 

2  A  rare  post-card  photograph  of  this  scene  has  been  given  by  Mr.  Fred  Arey  of  York  to 
the  Harvard  Library.     It  is  reproduced  as  the  frontispiece  of  this  volume. 

3  Episode  vi.    See  the  Book  of  the  Warwick  Pageant,  pp.  27  f.    "  Piers  de  Gaveston  in 
Scarborough  Castle  "  is  the  seventh  episode  of  the  Scarborough  Pageant  (1912):  some  lines 
in  this  scene  are  taken  from  Marlowe's  play.    (See  Book  of  Words,  p.  25.) 

4  Book  of  the  Dover  Pageant,  pp.  37  f.      5  Book  of  the  Gloucestershire  Pageant,  pp.  45  f. 
6  Book  of  Words  of  the  Bury  St.  Edmunds  Pageant,  p.  48.    The  Foreword  notes  that  the 

scene  is  "  drastically  compressed." 


220  ENGLISH  PAGEANTRY 

Zack:    Four.    For  one  I  cut  off  by  mistake  — 
Hob:     (disgusted)    Oh  —  ! 

Flourish  of  Trumpets 

Seneschal:  All  Mayors,  Bailiffs  and  Barons  of  the  Five  Ports  and  their  members,  draw  ye 
near  and  answer  to  your  names  as  you  shall  be  called,  and  give  your  attendance  here  at  the 
Bredenstone  upon  the  peril  that  shall  fall  of.it. 

As  they  are  called,  ENTER  THE  MAYORS,  etc.,  each  with  a  BANNER-BEARER  and  banner 
and  two  ATTENDANTS.  They  form  a  great  semicircle  round  the  Bredenstone.  ENTER 
the  CROWD  of  MEN,  WOMEN  and  CHILDREN. 

Seneschal:   Dover  —  Sandwich  —  Romney  —  Hastings  —  Hythe  —  These  be  the  Cinque 
Ports.    Rye  —  Winchelsea  —  the  two  ancient  towns.  —  Now  certain  of  the  Limbs  or  Mem 
bers.      Folkestone  —  Feversham  —  Margate  —  Fordwick  —  Deal  —  Walmer  —  Ramsgate 
—  Lydd  —  Pevensey  —  Seaford  —  Tenterden. 
Odo:    Are  all  here  ? 

Mayor  of  Hastings:  All  are  here,  my  lord. 

Odo:  (at  the  Bredenstone)  Hear  now  what  rights  and  privileges  our  Sovereign  Lord  the 
King  intends  towards  you,  and  what  service  he  requires  in  return."  1 

And  so  the  history  lesson  goes  on.  It  makes  an  impression  on  us  because  we 
hear  it,  imaginatively,  through  the  ears  of  those  who  are  themselves  taking  part 
in  it.  The  principle  is  the  same  as  that  used  by  the  writers  of  the  Elizabethan 
chronicle-play,  whose  audiences  knew,  for  instance,  that  Richard  III  had  lost 
the  Battle  of  Bosworth  Field  when  they  heard  him  cry,  "  My  kingdom  for  a 
horse!  "  They  realized  his  defeat  through  his  own  realization  of  it.  And  this 
is  what  makes  the  history  we  learn  by  means  of  fiction  impress  us,  and  stay 
with  us,  long  after  the  facts  we  have  read  in  books  have  gone.  Through  our 
sympathy  for,  and  interest  in,  the  characters,  we  gain  an  interest  in  events. 

In  these  pageants,  history  is  made  alive  for  us  by  the  same  method.  They 
have  an  emotional  appeal  which  is  rarely  equalled  in  the  theatre.  It  would  be 
a  great  play  which  could  hold  an  audience  for  four  hours,  and  leave  such  an  im 
pression  that  members  of  that  audience  became  enthusiastic  at  the  mention  of 
the  play  five  years  later.  Yet  more  than  one  pageant  has  accomplished  this  feat. 

One  can  readily  see  that  dialogue  is  important  in  these  pageants.  Although 
the  action  is  built  on  broad  lines,  suitable  for  the  open-air  performances,  the 
words  of  the  historical  episodes  should  be  easily  audible. 

The  Oxford  Pageant  of  1907  consisted  of  fifteen  scenes  and  an  Interlude  or 
Masque;  and  of  these  sixteen  parts,  nine  are  dramatic  scenes  with  words,  and 
the  rest  spectacular  only.  "  It  is,  perhaps,  advisable  to  point  out,"  says  the 
prefatory  note,  "  that  a  modern  Pageant,  like  an  historical  play  of  Shakespeare, 
is  often  compelled,  by  reasons  of  space,  time,  and  suitability  for  representation, 
to  foreshorten  history.  The  critic  must  not  murmur  if  persons  and  events  are 
found  in  a  juxtaposition  for  which  there  is  no  absolute  warrant  in  the  chronicles, 


Book  of  the  Dover  Pageant,  p.  16. 


PH 


THE  PARKERIAN  PAGEANT  221 

or  if  fancy  sometimes  bodies  forth  possibilities  which  may  never  have  been 
realities."  l 

This  seems  to  be  the  only  attitude  to  take  regarding  the  use  of  history  in  the 
pageants.  "Be  accurate:  but,  if  you  can't  be  accurate,  be  as  accurate  as  you 
can."  Even  Mr.  Parker,  whose  insistence  on  the  importance  of  historical  accu 
racy  in  pageants  is  founded  on  the  belief  that  laxity  in  this  respect  weakens  them 
as  educational  vehicles,  has  allowed  himself  a  certain  margin.  One  does  not, 
indeed,  presume  documentary  evidence  for  Hob  and  Zack;  but  one  wonders  if 
Queen  Elizabeth  really  attended  the  Oyster  Feast  at  Colchester... 

What  is  obviously  unhistorical  can  do  no  harm;  what  is  not  obviously  in 
accurate  should  —  in  an  historical  pageant  —  be  indicated,  on  the  program  or 
elsewhere.2 

WHERE  TO  STOP  THE  HISTORICAL  SURVEY 

The  ostensible  aim  of  pageantry  is  to  revive  or  maintain  a  memory  of  the 
past,  giving  the  history  of  the  town,  and  honoring  its  great  men.  One  result  of 
this  is  the  education  and  development  of  the  town's  inhabitants  (and  the  pill  is 
not  the  less  effective  because  it  has  a  sugar  coating!);  but  this  is,  after  all,  only 
a  by-product. 

In  this  historical  survey,  Mr.  Parker  stops  at  the  time  of  the  Civil  War,  or 
earlier.3  He  considered  this  necessary,  as  the  Whig  and  Tory  camps  still  exist 
in  England,  and  feeling  still  runs  high.  It  is  unsafe,  he  believes,  to  come  nearer 
than  the  middle  of  the  seventeenth  century;  and  he  had  to  "  skate  rather  care 
fully  over  Cromwell."  At  Colchester,  where  the  siege  was  vital  to  the  history 
of  the  town,  he  tried  an  experiment  —  from  a  dispassionate  point  of  view  he 
reproduced  the  shooting  of  the  Royalists  by  the  Roundheads  in  a  scene  strictly 


1  The  Book  of  Words,  p.  6.    Cf.  also  the  last  paragraph  of  Mr.  Langdon's  foreword  in  the 
Book  of  Words  of  the  St.  Johnsbury  Pageant,  p.  5. 

2  It  is,  for  example,  unlikely  that  Dr.  Johnson,  Smollett,  Boswell,  and  Goldsmith  ever 
attended  a  fete  at  Ranelegh  Gardens  with  George  II  —  although  such  a  thing  would  have 
been  possible. 

In  Episode  v  of  the  Bath  Pageant,  the  young  Shakspere,  who  with  Marlowe  and  others 
had  been  acting  before  the  Queen,  was  presented  to  her.  (Surely  an  unhistorical  scene!) 
See  Book  of  Words,  esp.  pp.  39  f. 

3  The  Sherborne  Pageant  (1905)  ends  with  Sir  Walter  Raleigh;    the  Warwick  Pageant 
(1906)  with  the  Fire  of  Warwick,  (1694);    the  Dover  Pageant  (1908)  with  the  arrival  of 
Henrietta  Maria,  (1625);  the  Bury  Pageant  (1907)  with  "  The  New  Age  "  (1533-1578);  the 
Colchester  Pageant  (1909)  with  the  siege  of  the  town  (1648);  the  York  Pageant  (1909)  with 
the  siege  and  surrender  of  York,  to  the  Parliamentarians,  "  with  all  the  honours  of  war,"  in 
1644.    The  St.  Albans  Pageant  (1907)  ended  with  Elizabeth  at  Gorhambury,  July,  1572; 
the  Pickering  Pageant  (1910)  with  the  defeat  of  the  Armada  (1588),  and  the  Hertford  Pag 
eant  (1914)  with  the  visit  of  the  Queen  to  the  Castle  in  1561.  (None  of  the  last  three  was  Mr. 
Parker's.) 


222  ENGLISH  PAGEANTRY 

accurate,  as  well  as  amazingly  dramatic  and  tragic.1  The  very  words  used  at 
the  trial  and  execution  were  repeated;  and  yet  —  though  the  people  took  the 
scene  well  —  the  episode  did  arouse  feeling  on  both  sides  which,  while  not  un 
pleasantly  expressed,  was  obvious.  Partly  for  this  reason,  and  partly  because 
the  costumes  of  the  Georgian  period  seemed  dull  and  unromantic  after  those  of 
earlier  times,  Mr.  Parker  deemed  it  best  to  emphasize  the  remoter  past.  Not 
all  the  other  English  pageant-masters,  however,  agree  with  him  in  this  respect; 
but  it  is  to  be  noted  that  when  history  was  brought  down  to  later  times,  con 
tention  is  avoided,  as  Mr.  Parker  avoided  it  at  Warwick.2 


§  7.    MASQUE,  INTERLUDE,  AND  JOUST  IN  THE 
MODERN  PAGEANT 

"  THE  MASQUE  OF  THE  MEDIAEVAL  CURRICULUM  "  AT  OXFORD  IN  1907 

An  interesting  feature  of  many  of  the  modern  pageants  is  the  "  interlude." 

In  the  Oxford  Pageant  of  1907  we  find  The  Masque  of  the  Medieval  Curriculum 

-  which  is  not  a  masque  at  all,  but  a  modern  attempt  at  a  morality-play.    This 

"  masque  "  contains  little  dancing,  though  there  is  plenty  of  singing.     The 


1  This  final  episode,  the  sixth,  may  be  found  in  the  Book  of  Words,  pp.  54  f.    "  Every 
incident  in  the  Pageant  is  based  either  on  local  tradition  or  on  authentic  history,"  says  Mr. 
Parker  in  the  Foreword,  "  and  in  many  cases  the  characters  repeat  the  actual  words  spoken 
by  their  prototypes.    This  is  especially  the  case  in  Episode  vi." 

Concerning  this  scene  (Book  of  Words,  pp.  61  f.)  Mr.  Parker  told  me  that  the  shooting 
was  horrible  in  its  realism.  Regular  soldiers  —  who  often,  by  the  way,  acted  in  his  pageants 
—  took  the  parts  of  Cavalier  and  Puritan.  The  cavalry  charges  of  this  pageant  were  done 
by  cavalrymen,  and  the  effect  was  splendid. 

2  The  Oxford  Pageant  (1907)  included  the  visit  of  George  III  to  Oxford  in  1785;    the 
Chelsea   Pageant  (1908)  included  a  Royal  Fete  at  Ranelegh  Gardens  in  1749,  which  was 
attended  by  George  II,  Dr.  Johnson,  Bos  well,  Smollett  and  Goldsmith,  among  others;   the 
Gloucestershire  Pageant  (1908)  showed  the  visit  of  George  III  to  Cheltenham  in  1788;  the 
Winchester  Pageant  (1908)  included  the  "  Merry  Monarch."     The  Bath  Pageant  (1909) 
showed  the  visit  of  Queen  Charlotte  to  Bath  in  1817;   the  Army  Pageant  (1910)  included 
Badajos,  6  April,  1812;   the  West  Dorset  Pageant  (1911)  included  the  visit  of  Charles  II  to 
Bradpole  in  1651,  and  the  London  Pageant  (The  Festival  of  Empire,  1911)  showed  "  The  Allied 
Sovereigns  in  London,"  18  June,  1814.    The  English  Church  Pageant  (1909)  ended  with  the 
acquittal  of  the  Seven  Bishops  in  1688,  but  contained  groups  representing  eighteenth-  and 
nineteenth-century  Churchmen. 

The  Scarborough  Pageant  (1912)  included  several  episodes  after  Queen  Elizabeth's  time: 
Episode  x,  "  Surrender  of  the  Castle  to  the  Parliamentary  Forces,  164.5  ";  episode  xi,  "  Dis 
covery  of  Spa  Waters,  about  1620; "  episode  xii,  "  Release  of  George  Fox  from  Imprison 
ment  in  the  Castle,"  1666;  episode  xiii,  "  Mr.  Mayor  is  tossed  in  a  blanket,"  1688;  and 
episode  xiv,  "  A  Miscellany,  introducing:  Gablers'  Fair,  Amusements,  The  Press-gang, 
Smugglers,  Pirates,  Fashionable  Visitors,  Local  Celebrities  and  Eccentrics  etc.;  Time  — 
the  latter  end  of  the  eighteenth  century  (chiefly  1780-90)." 


THE  PARKERIAN  PAGEANT  223 

characters  include  a  Pr selector,  a  Vain  Student  and  a  Wise  Student,  the  Court 
of  Learning,  with  Divinity,  Medicine,  and  Law  and  their  trains,  the  Seven  Arts 1 
and  the  rout  of  Folly  and  Pleasure.  These  two,  at  the  end,  beckon  luringly  to 
the  Vain  Student;  "  he,  hesitating  for  a  little  while,  goeth  to  them.  Turning 
him  round  with  garlands  they  do  drag  him  out  singing,  and  then  may  one  per 
ceive  Time  following  after  them  silently  .  .  .  When  they  have  passed  away, 
Time  following,  shall  the  Arts  and  Sciences,  particularly  Divinity,  since  he 
hath  chosen  her  for  his  mistress,  conduct  the  Wise  Student  forth  in  the  opposite 
direction,  preceded  by  the  Praelector,  who,  when  they  are  approaching  the  exit, 
shall  let  them  pass  him  by,  and  then  follows  them  out,  and  as  they  go  they  shall 
sing  .  .  ."  2 

Another  interlude,  played  before  the  Henry  VIII  and  the  Wolsey  of  this  same 
pageant,  showed  a  Knight  (Youth)  who  slew  the  Dragon  (Ignorance)  and  freed 
a  maiden  (Knowledge)  whom  the  latter  bore  a  prisoner  on  his  back.  A  mimic 
castle,  borne  by  four  men  within,  appeared  before  the  Spirit  of  the  Age,  attended 
by  a  number  of  dancing  nymphs.3  This  entertainment  —  omitted  in  the  per 
formance  because  of  lack  of  time  —  is  a  better  imitation  of  a  masque  than  was 
the  other;  for  it  has  (besides  song)  dance,  a  moving  castle,  and  a  mock-fight  — 
the  roaring  Dragon  was  killed  with  a  goose-quill.  The  allegory  tends,  however, 
to  give  it  a  strong  morality  flavor. 

"  THE  MASQUE  OF  THE  SEASONS,"  IN  THE  SCOTTISH  NATIONAL  PAGEANT 

Included  in  the  Scottish  National  Pageant  was  a  "  Masque  of  the  Seasons," 
the  Argument  of  which  reads  as  follows : 

" '  Time '  leadeth  in  the  masque;  He  enthroneth  Queen  Nature  and  placeth  Pity  and 
Valour  on  her  right  hand;  Love  and  Beauty  on  her  left. 

"  He  surroundeth  her  with  her  Courtiers,  and  Attendants,  Dawn,  Day,  and  Night,  the 
Stars,  the  Golden  Hours,  the  Angels  of  Pity  and  the  Babes  they  guard. 

"  He  summoneth  the  Seasons  in  due  order,  Spring,  Summer,  Autumn,  Winter,  that  they 
may  present  their  gifts  to  Nature,  and  delight  her  heart  with  Song  and  Dance  and  Gaiety 
and  set  forth  the  Triumph  of  '  Good  St.  George  over  the  Horrible  Dragon  of  Cruelty.'  "  At 
the  end  comes,  "  The  masque  of  Christmas  and  St.  George  and  the  Dragon,"  with  Hestia, 
Father  Christmas,  Waits,  Jesters,  the  Princess,4  the  Dragon,  Mercy,  Pity  and  St.  George,  the 
Horse,  the  Doctor,  Turkish  and  True  Knights.  It  is  noteworthy  that  allegory  is  here  com 
bined  with  what  is  apparently  a  revival  of  the  old  folk-dance,  although  it  is  called  "  a  play." 


1  Who  appeared  in  1432  (see  above,  vol.  i,  p.  145)  and  in  1547  (ibid.,  p.  186);   also  in 
Dekker's  Show  for  1612,  Jordan's  for  1676,  Taubman's  for  1678.     Cf.  above,  p.  77,  n.  3. 

2  Book  of  Words  of  the  Oxford  Pageant,  p.  62.    This  "  Masque  "  was  written  by  Professor 
Sir  Walter  Raleigh. 

3  Ibid.,  pp.  74  f.    J.  B.  Fagan  was  the  author  of  this  interlude. 

4  Presumably  the  figure  of  the  maiden  so  often  rescued  by  St.  George  in  earlier  days  — 
as,  for  instance,  in  1461  at  Bristol  (cf.  above,  vol.  i,  p.  152)  and  at  Coventry  in  1474  (ibid., 
P.  iS4). 


224  ENGLISH  PAGEANTRY 

Given  in  six  scenes,  it  shows  the  princess,  fastened  to  a  stake,  attacked  by  the  dragon  and 
rescued  by  St.  George,  after  which  the  "  Ancient  Mummers  play  St.  George  and  the  Dragon 
which  is  presented  with  quaint  ceremony  and  circumstance  by  them.  After  which  these  and 
the  whole  Company  with  Nature  and  her  Court  form  in  procession  and  march  out  to  brave 
music." l 

It  is  interesting  to  observe  that,  whereas,  in  the  Lord  Mayor's  Show  —  when 
there  were  interludes  —  the  interludes  tended  away  from  the  allegory  which 
permeated  the  rest  of  the  pageant,  here  the  interludes  tend  toward  allegory. 

FOLK-REVELS  OF  THE  PAST  REVIVED  IN  MODERN  PAGEANTS 

But  not  all  of  the  interludes  in  modern  pageants  are  allegorical.  That  of 
the  Winchester  Pageant,  called  "St.  Giles'  Fair  "  is  really  a  formless  episode, 
giving  a  picture  of  a  town  fair  in  the  time  of  Henry  I.2  The  second  part  of  the 
seventh  episode  of  the  Chester  Pageant  —  which  deals  with  the  visit  of  James  I 
to  Chester  in  1617  —  shows  "The  Midsummer  Revels"  about  i62o.3  The 
revellers  include  the  Waits,  the  Dragon,  Elephant  and  Castle,4  Maypole  chil 
dren,  the  Antelope,  Ass  and  Unicorn,  the  Ship,  the  Merchants'  Mount,5  Morris 
Dancers,  Jack  o'  the  Green,6  the  City  Giants,  Guild  Boys  with  banners,  the 
Luce,  the  Camel,  Hobby  Horses,  a  Merry  Andrew  and  Dairymaids,  Elves  and 
Fairies.  In  this  episode,  the  revels  consist  almost  entirely  of  dances:  "enter 
the  procession,  which  makes  its  way  down  to  the  front.  Maypoles  are  set  up 
on  each  side  of  the  arena.  The  Revels  open  with  a  Maypole  Dance  .  .  .  This  is 
followed  by  a  Morris  Dance.  Then  comes  a  Dance  of  Dairy  Maids.  Then  the 
Maypole  Ribbons  are  unwound  .  .  .  Following  this  comes  the  Dance  of  the  Elves 
and  Fairies.  The  Revels  then  close  with  the  Charge  of  the  Hobby  Horses."  7 


1  From  the  program  of  the  Scottish  National  Pageant. 

2  See  Book  of  the  Words  and  Music  of  the  Winchester  Pageant,  pp.  35  f.    The  last  episode 
of  the  Scarborough  Pageant  included  the  "  Gablers'  Fair."    Cf.  the  Book  of  Words,  p.  68. 

3  Book  of  the  Chester  Pageant,  pp.  70  f.    (A.  E.  Lovell,  M.A.,  is  the  author  of  the  entire 
episode.) 

"  May  Day  Revels  "  constitute  scene  v  of  part  ii  of  the  Festival  of  Empire  —  the  London 
Pageant  of  1911. 

4  See  above,  vol.  i,  pp.  66  f.,  and  p.  170,  and  n.  5  of  this  volume. 
8  See  above,  vol.  i,  pp.  44-46,  and  notes. 

6  See  above,  vol.  i,  p.  70. 

7  Book  of  the  Chester  Pageant,  p.  71.    I  may  mention  a  few  more  examples  of  the  masque- 
episodes  in  modern  pageants:   both  gypsy  and  morris  dances  were  included  in  the  Potter 
Heigham  Pageant  of  1907;  morris  dancers  appeared  in  the  Colchester  Pageant  (see  the  Book, 
p.  30);   and  a  Roman  dance  followed  the  Triumph  of  Claudius  (ibid.,  p.  13).    Episode  iv 
ended  with  a  dance  of  the  fishermen  (ibid.,  p.  41);  a  "  stately  dance  "  was  performed  in  epi 
sode  v,  scene  i  (ibid.,  p.  44);  a  "  Rigadoon  "  was  danced  by  children,  after  they  had  acted 
out  the  song  of  "  Old  King  Cole  "  —  who  was  brought  on  "in  state  "  —  for  the  entertain- 


THE  PARKERIAN  PAGEANT  225 

THE  MASQUE  IMPERIAL  OF  THE  "  FESTIVAL  OF  EMPIRE  " 
INCLUDES  ALLEGORY 

The  Festival  of  Empire  ended  with  a  "  Masque  Imperial,"  wherein  the  "  alle 
gory  of  the  advantages  of  Empire  "  was  shown.  This,  it  is  necessary  to  observe, 
gives  a  morality-play  flavor  to  the  whole  pageant.  The  Genius  of  the  World, 
the  Voice  of  the  World,  Queen  Need  of  Knowledge,  with  many  Queen  Needs  of 
other  things,  Britannia,  with  the  Spirits  of  her  Meadows,  Forests,  Lakes,  Mists, 
and  Mountains  (to  name  a  few  out  of  many)  and  the  Queen  of  Wisdom  were 
characters  in  this  masque,  which  also  included  the  Colonies. 

Many  of  these  masque-like  episodes  were  mere  revels ;  others  contained  alle 
gory,  with  a  morality-play  flavor  in  some  cases;  and  some  prefaced  a  joust.  In 
the  second  part  of  episode  vi  in  the  Winchester  Pageant  —  showing  the  recep 
tion  of  the  Emperor  Charles  V  by  Henry  VIII  —  a  morris  dance  entered,  with 
Fool  and  Maid  Marian,  dragging  a  huge  wooden  horse.1  After  a  dance,  during 
which  the  morris  men  sang  King  Henry's  song,  "  Pastime  with  good  Companye," 
a  grave  man,  crowned,  stepped  forward,  in  the  dress  of  King  Priam. 

A  JOUST-LIKE  MASQUE  AT  WINCHESTER 

.  .  .  With  his  sceptre  he  strikes  the  horse.  It  snorts  flame;  opens,  and  a  number  of  little 
Cupids  with  drums  come  pouring  forth,  beating  an  alarm.  Other  Cupids  run  with  a  band  of 
silk,  which  they  strain  and  set  up  as  a  tennis  net  ...  They  toss  balls  to  and  fro  across  it, 
but  scurry  away  as  a  trumpet  sounds  and  from  either  entrance  L  and  R  six  knights  come  rid 
ing,  armed  for  the  joust.  Six  are  Greeks  —  Menelaus,  Ulysses,  Ajax,  Pyrrhus,  Sthenelus, 
Neoptolemus:  six,  Trojans  —  Paris,  Deiphobus,  ^Eneas,  Pantheus,  Hypanis,  Polites.  They 
pass  the  thrones  to  music,  salute,  and  wheeling  in  two  semi-circles  ride  back  to  their  barriers. 
Then,  at  the  sound  of  another  trumpet,  they  gallop  forward. 


ment  of  Elizabeth  (ibid.,  p.  53).  A  "  Stately  Dance  "  and  a  morris  dance  welcomed  Mary 
Tudor  to  Bury  St.  Edmunds  (Book  of  that  pageant,  p.  57).  Many  dances  occur  in  the  York 
Pageant  —  a  Roman  dance  (Book  of  Words,  p.  27);  a  morris  dance  and  a  sword-dance  (ibid., 
p.  86) ;  a  dance  by  the  children  of  York  (ibid.,  p.  100)  and  a  "  stately  dance  "  by  the  Lords 
and  Ladies  of  the  Court  before  Anne,  consort  of  James  I,  (ibid.,  p.  112).  Tymbesteres  danced 
before  King  John  of  France  and  David  Bruce  of  Scotland  in  the  Hertford  Pageant  of  1914 
(Book,  p.  30) ;  and  there  was  a  Pavane  as  well  as  a  country-dance  ("  Bessy  and  the  Clown 
on  Plough  Monday  ")  before  Queen  Elizabeth  in  the  last  episode  (Book,  pp.  38-39).  In  the 
latter  was  a  dragon  and  a  hobby-horse. 

"  A  Masque  of  Prince  Bladud  "  forms  a  part  of  episode  v  of  the  Bath  Pageant  —  depict 
ing  the  visit  of  Queen  Elizabeth  to  Bath  in  1590.    Hobby-horses,  fairies,  etc.,  take  part. 
(Book  of  the  Bath  Pageant,  pp.  41  f.)    "  The  Faery  Queen  Masque  "  was  performed  before 
Elizabeth  in  episode  vii  of  the  Chelsea  Pageant.    (See  the  Book  of  that  pageant,  pp.  83  f., 
and  the  illustration  opposite  p.  77.) 

1  Pictured  in  the  Ittus.  Lond.  News  for  27  June,  1908,  p.  956,  (picture  9). 


226  ENGLISH  PAGEANTRY 

A  Joust.  The  Greeks  prevail,  and  chase  their  opponents  around  the  lists.  At  a  sudden 
roll  of  drums,  the  king  stands  and  lowers  his  warder,  whereat  all  the  knights  form  up  and  cross 
their  lances.1 

While  many  of  these  are  not,  strictly  speaking,  "  interludes,"  they  are  akin 
to  the  formless  episode,  like  the  St.  Giles's  Fair  of  the  Winchester  Pageant. 
They  give  us  pictures  of  the  Court  and  folk  life  of  the  past,  which  need  not  be 
closely  related  to  the  life  of  one  particular  place.  There  were,  it  is  true,  revels 
at  Chester  in  1610  —  but  they  were  not  confined  to  that  year,  nor  were  they  con 
fined  to  that  place.  Nor  is  there  anything  characteristic  of  the  history  of  any 
town  in  a  masque  or  joust. 

THE  MODERN  "  INTERLUDE  " 

It  is  clear,  then,  that  an  "  interlude  "  has  —  as  far  as  modern  pageantry  is 
concerned  —  become  something  different  from  the  dialogues  that  either  John 
Heywood  or  Thomas  Jordan  wrote.  Insofar  as  it  breaks  the  slender  plot 2  of 
a  pageant,  it  has  a  right  to  the  name.  But  the  word  is  confusing  when  it  can 
cover  anything  from  a  joust  to  what  is  practically  a  morality-play. 

A  PAGEANTIC  MASQUE  AT  EDINBURGH 

In  the  reign  of  Henry  VII,  as  we  have  seen,  the  pageant  car  was  adopted  by 
the  masque ;  but  it  influenced  only  the  setting  —  not  the  technique  —  of  that 
form  of  art.  In  1634,  we  found  a  masque  with  a  pageant-attachment,  as  it  were;3 
in  1912,  we  find  a  masque  which  seems  to  have  been  influenced  by  the  modern 
pageant.  The  Masque  of  Learning,  by  Professor  Patrick  Geddes,  was  prepared 
to  celebrate  the  twenty-fifth  anniversary  of  the  foundation  of  University  Hall, 
Edinburgh,  and  was  performed  at  the  Synod  Hall,  in  that  city,  on  the  14,  15,  16, 
and  19,  March  191 2. 4  As  Professor  Geddes  says  in  his  Foreword,  this  Masque 


1  Book  of  Words  and  Music  of  the  Winchester  Pageant,  p.  65.  Sir  A.  T.  Quiller-Couch  is 
the  author  of  this  part  of  the  episode. 

Episode  iv  of  the  Bath  Pageant  —  the  visit  of  Henry  VII  to  Bath  in  1497  —  ends  with  a 
joust.    (See  the  Book  of  that  pageant,  pp.  28  f.) 

2  If  we  may  use  this  word  to  suggest  the  story  of  a  town. 

3  See  above,  vol.  i,  pp.  117  f. 

4  I  am  indebted  to  Mr.  S.  J.  Hume  for  the  Book  of  Professor  Geddes's  masque.    A  clip 
ping  from  a  Glasgow  paper  which  I  found  in  the  copy  he  lent  me,  contains  an  account  of  the 
extension  of  the  masque  by  the  addition  of  new  episodes.    "  Two  masques  have  thus  arisen  — 
first,  that  of  ancient  learning,  up  to  Celtic  civilisation  inclusive,  and  second  that  of  mediaeval 
and  modern  learning;  and  these  will  be  given  in  successive  weeks.  .  .   Yet  with  this  increase 
of  spectacular  interest,  the  main  ideas  of  the  whole,  its  historical  interpretations,  its  educa 
tional  suggestiveness,  also,  will,  it  is  hoped,  be  all  the  clearer."    This  pageant,  the  same  clip 
ping  asserts,  led  to  the  formation  of  the  "  Edinburgh  Masquers." 

The  whole  masque  or  pageant  —  both  terms  are  very  loosely  used  —  is  more  of  a  "  festi 
val  "  than  a  real  pageant;  in  spirit  it  recalls  the  Boston  Normal  School  "  Pageant,"  which 


THE  PARKERIAN  PAGEANT  227 

of  Learning  "  consists  of  an  historical  pageant  of  characteristic  scenes  illustrative 
of  the  development  of  Higher  Education,  and  of  the  origins  and  history  of  the 
University  —  each  in  its  widest  sense  .  .  .  The  main  presentment  begins  with 
the  Oriental  civilisations,  and  proceeds  through  Greek  and  Roman  times,  through 
Celtic  and  Mediaeval  periods  to  the  Renaissance  and  the  Encyclopaedic  age ;  and 
thence  to  the  present  day  .  .  .  Each  sequence  of  scenes,  with  its  typical  and  his 
toric  figures,  is  ...  in  principle  itself  a  pageant,  expressing  the  essential  genius 
of  a  race,  or  commemorating  the  main  achievements  of  an  epoch  of  civilisation  . . . 
The  final  scene  attempts  to  shadow  forth  the  Opening  Future  of  Education  and 
Citizenship;  and  to  suggest  how  Edinburgh  and  her  many  students  may  take 
an  increasing  part  in  this;  City  and  University,  Life  and  Learning,  again,  as  of 
old,  advancing  hand  in  hand." 

THE  MASQUE  OF  CHARTERHOUSE 

Akin  to  this  pageantry  which  can  appeal  only  to  a  small  part  of  the  commu 
nity,  and  which,  for  this  reason,  has  been  more  properly  given  another  name,  is 
the  celebration  of  the  tercentenary  of  the  Charterhouse  School  in  1911,  by  the 
Masque  of  Charterhouse,  performed  on  8  July  of  that  year.  This  set  forth  his 
torical  scenes  from  the  past  of  the  old  school,  and  seems  to  have  resembled,  in 
several  ways,  the  Pageant  of  Hollis  Hall,  presented  at  Harvard  University  in 
June,  1913. l  Every  incident  of  this  masque  "  was  concerned  with  the  Charter 
house  and  her  intimate  life,  and  represented  by  men  and  boys  to  whom  Charter 
house  is  a  living  reality."2  This  seems  to  have  been  rather  a  pageant  than  a 
masque;  perhaps  it  was  given  the  latter  name  because  it  appealed  only  to  a 
small  part  of  the  community,  rather  than  to  the  community  as  a  whole. 

A  WORD  ON  THE  INVESTITURE  OF  THE  PRINCE  OF  WALES 

Mr.  Parker  thinks  that  the  proclamation  of  the  present  Prince  of  Wales  at 
Carnavon  —  in  which  careful  attention  was  paid  to  past  procedure  —  is  an 
outcome  of  the  love  of  the  past  developed  by  the  educational  pageant  in  Eng 
land.  It  is,  perhaps,  more  likely  that  both  are  the  results  of  forces  set  in  motion 
in  the  nineteenth  century,  though  the  historical  pageant  may  have  stimulated 
the  Investiture  of  the  Prince  directly.3 


is  treated  in  the  next  chapter.  The  characteristically  American  "  futuristic  "  element  is 
also  to  be  found  in  it,  with  the  symbolism  and  allegory  that  are  inseparable  from  a  treatment 
of  the  age  that  is  to  come. 

1  On  this,  see  below,  p.  272.    As  far  as  I  know  there  is  no  connection  between  these  two 
pageants. 

2  A  few  ladies  in  "  walking  parts  "  appeared  in  the  second  scene;    (the  Hollis  Pageant 
showed  none).    An  account  of  the  celebration  in  connection  with  this  anniversary  was  pub 
lished  in  the  London  Times  for  10  July,  1911,  p.  6,  col.  i;   a  notice  of  it  appeared  in  the 
same  paper  for  20  May,  1911,  p.  6,  col.  5. 

3  For  pictures  of  this  ceremony  see  the  Ittus.  Lond.  News  for  22  July,  1911,  especially 


228  ENGLISH  PAGEANTRY 

§  8.    PAGEANTIC  TENDENCIES  IN  ENGLAND  —  THE 
"  PAGEANT-PLAY  " 

Even  before  the  war,  pageantry  seemed  to  be  losing  popularity  in  England; 
the  years  from  1911  to  1914  were  not  so  prolific  in  historical  pageants  as  had 
been  those  during  the  period  1905-1911;  this  is,  it  has  been  suggested,  due  in 
part  to  the  commercializing  of  the  pageant,  but  it  is  also  due  to  a  development 
in  other  lines  of  the  forces  which  pageantry  has  put  in  motion.  At  first,  England 
seized  upon  the  historical  pageant  as  a  child  seizes  upon  a  new  toy;  then,  the 
novelty  having  worn  off,  she  threw  it  aside.  But  there  are  signs  that  it  will  be 
come  a  cherished  possession,  none  the  less  valued  because  kept  less  in  evidence. 

Already  a  revival  —  if  one  may  revive  what  is  not  dead  —  seemed  to  be  be 
ginning  in  the  summer  of  1914,  when,  hardly  a  month  before  the  war  broke  out, 
Hertford  celebrated  her  thousandth  anniversary.  It  is  impossible  to  foretell 
the  effect  on  pageantry  which  peace  will  have;  but  one  can  imagine  the  pa 
triotism  and  national  pride  which  will  demand  expression  —  and  one  sees  the 
means  of  expression  at  hand.1 

The  pageantic  spirit  has  been  kept  alive,  in  the  years  since  1911,  in  various 
ways.  We  have  already  noted  the  pageantry  which  has  appeared  in  the  Royal 
Naval  and  Military  Tournament,  and  the  tendency  to  "  pageantize  "  the  fancy- 
dress  ball,  by  giving  it  a  central  idea.  Such  shows  as  the  "  Children's  Welfare 
Festival,"  which  was  given  at  Olympia  in  April,  1914,  and  included  the  "  Makers 
of  England,"  2  keep  alive  —  if  it  needs  keeping  alive  —  the  "  soul  "  of  pageantry. 
The  historical  characters  in  this  last  festival  gave  a  pageantic  flavor  to  what 
would  otherwise  have  been  merely  a  children's  masque.3  These  shows  reflect 


pp.  164,  165.    This  occasion  was  recognized  in  the  Lichfield  Bower  of  1911  (which  took  place 
before  the  actual  event). 

We  may  note,  in  passing,  "  The  renewal  of  a  ceremony  in  abeyance  for  two  and  a  half 
centuries:  the  King  and  Queen  leaving  St.  George's  Chapel  for  the  return  open-air  procession 
after  the  special  Garter  Service  at  Windsor,"  which  is  pictured  in  the  Illus.  Land.  News  for 
6  July,  1912  (American  edition),  p.  7.  "  A  special  service  for  the  Knights  of  the  Garter  was 
held  in  St.  George's  Chapel  at  Windsor  on  June  15,  before  their  Majesties  left  for  Harrow. 
The  open-air  procession  was  a  novel  feature  of  the  ceremonies.  It  was  revived  last  year,  at 
the  Investiture  of  the  Prince  of  Wales  at  Carnavon,  for  the  first  time  in  the  history  of  the 
Order  since  the  days  of  Charles  II  .  .  ."  (Ibid,,  loc.  cit.) 

1  In  both  England  and  America  pageantry  was  used,  to  a  certain  extent,  and  in  various 
forms,  not  only  as  a  means  of  raising  money  for  war-charities,  but  as  propaganda. 

2  Among  whom  were  Boadicea,  William  I,  Richard  I,  Elizabeth,  Marlborough,  Nelson, 
Wolfe,  and  Victoria. 

3  With  the  exception  of  the  historical  characters,  the  affair  was  a  series  of  dances  lightly 
related  to  each  other  in  that  they  were  all  inspired  by  toys  or  fairy-tales;  historical  accuracy 
was  not  of  primary  importance,  nor  did  the  entertainment  seek  to  awaken  a  patriotic  pride 
in  the  past. 

Another  example  of  these  children's  entertainments  is  described  in  the  London  Daily 


THE  PARKERIAN  PAGEANT  229 

pageantry,  applying  it,  as  it  were,  to  private  or  charitable  ends,  depriving  it  of 
its  popular  "  spirit  "  and  sometimes  reducing  it  to  its  old  form  of  tableau  vivant, 
(though  without  the  pageant-car  and  street-procession). 

It  is  to  be  remarked  that  at  the  "  Children's  Welfare  Festival  "  we  see  a 
pageantic  interlude  in  a  children's  masque,  reversing  the  commoner  masque- 
interlude  in  the  historical  pageant. 

THE  "  PAGEANT-PLAY  "  AND  THE  "  PLAY-PAGEANT  " 

There  have  long  been  spectacular  plays,  with  large  casts;  but  since  the  Par- 
kerian  pageant  arose,  the  term  "  pageant-play  "  has  come  into  being.  This  is 
still  rather  a  vague  term —  it  is  used  to  cover  many  kinds  of  performances.  The 
late  Sir  Herbert  Tree's  production  of  Henry  VIII  was  an  interesting  perform 
ance  which  had  a  long  run;  Mr.  Parker's  more  recent  Joseph  and  his  Brethren  1 
was  even  more  pageantic ;  his  Drake —  dealing  with  a  national  hero  — was  revived 
during  the  early  days  of  the  recent  war,  and  awoke  much  patriotic  enthusiasm. 
These  plays  show  a  tendency  to  bring  the  stage  nearer  the  pageant,  than  the 
pageant  toward  the  stage;  in  the  first  two,  the  method  of  production  was  pag 
eantic  —  but  Drake  shows  pageantic  material  as  well.  It  is  almost  straight 
Elizabethan  chronicle-history.2 

"  THE  LAST  DAYS  OF  ST.  BENET'S  ABBEY  "  AT  POTTER  HEIGHAM 

An  interesting  bridge  between  the  historical  pageant  and  the  pageant-play 
is  The  Last  Days  of  St.  BeneCs  Abbey,  which  Mr.  Parker  wrote  for  the  Norfolk 
town  of  Potter  Heigham  in  1907.  This  resembles  an  episode  in  a  pageant,  but 
it  has  a  small  love-story  woven  into  it;  the  Narrator  (a  woman  who  takes  the 
part  of  Chorus)  gives  prologue  and  epilogue,  and  interrupts  at  times  to  explain 
the  progress  of  the  story.  The  interest  here  is  not  confined  to  history;  the  germ 
of  a  plot  is  visible  —  and  this  makes  it  noteworthy,  as  a  play  given  in  the  pageant 
manner. 


Telegraph  for  5  March,  1914:  "  A  pageant  entitled  '  Children  through  the  Centuries,'  com 
piled  by  the  Rev.  C.  V.  R.  Scott,  will  be  given  in  connection  with  the  Children's  Union,  Waifs 
and  Strays  Society,  at  the  Royal  Court  Theatre  on  Thursday  afternoon,  June  25.  There  will 
be  a  series  of  scenes  portraying  historic  and  traditional  incidents  in  connection  with  child-life 
including  a  symbolical  scene  arranged  by  Lady  Beatrix  Wilkinson,  president  of  the  Chil 
dren's  Union,  and  a  patriotic  scene,  '  Children  of  the  Empire,'  arranged  by  Lady  Muriel 
Herbert." 

1  Based  on  the  Biblical  story,  this  play  had  over  forty  speaking-parts,  and  hundreds  of 
people  in  the  cast. 

2  From  the  little  I  know  of  Mr.  Nugent  Monck's  work,  I  should  say  that  he  applied  the 
technique  of  the  pageant  to  material  not  always  pageantic.     I  have  referred  to  his  Legends  of 
King  Arthur —  the  only  one  of  his  "  pageants  "  I  have  seen  —  (above,  p.  196,  n.  i).    A  good 
deal  of  his  work  lay  in  the  revival  of  the  masque  —  which  lies  outside  our  field. 


230  ENGLISH  PAGEANTRY 

THE  PLAYS  OF  THE  REV.  MR.  PERKINS  OF  YORK 

As  an  outgrowth  of  the  historical  pageant  we  may  note  the  work  of  the  Rev. 
Mr.  F.  L.  Perkins,  of  York.  He  has  written  several  "  pageant-plays  "  or  "  play- 
pageants,"  either  with  the  purpose  of  raising  money  for  charitable  objects,  or  — 
as  with  Disinherited  —  ?  —  to  spread  certain  propaganda.  The  first,  given  at 
Thirsk  in  Yorkshire,  on  25  and  26  June,  1907,  owed  its  existence  to  the  Sher- 
borne  Pageant  as  much  as  to  anything; *  all  the  parts  were  taken  by  the  towns 
folk,2  and  the  matter  of  the  "  play  "  was  the  history  of  the  town,  scenes  from 
which,  to  Elizabeth's  time,  were  presented.  Mr.  Perkins  prefers  to  call  his  pro 
ductions  "  plays  "  rather  than  "  pageants,"  because,  as  he  says,  the  dialogue  is 
important ;  but  so  is  that  of  the  Parkerian  pageant  —  as  we  have  seen  —  which 
is  really  a  "  chronicle-play  of  a  town." 

Up  the  Heights,  a  "  play  with  a  purpose,"  is  really  not  a  pageant  at  all;  the 
only  flavor  of  pageantry  being  an  historical  parenthesis  showing  Wolfe  and  the 
capture  of  Quebec.  The  play  is  a  plea  for  missionary  work  in  the  Colony  he 
conquered.  In  Old  Northumbria,  "  an  open-air  play,"  was  given  at  York  in  the 
summer  of  1912;  it  showed  four  scenes  of  history  which  took  place  between 
650  and  680  —  one  of  which  was  re-enacted  on  the  spot,  outside  the  Minster, 
where  the  original  happening  took  place. 

On  17,  18,  and  19,  February,  1914,  in  the  Festival  Concert  Rooms  at  York 
was  presented  Disinherited — ?  :"  a  play-pageant  in  aid  of  the  Church  in 
Wales."  I  quote  from  the  "  Author's  note  ": 

"  This  play  has  been  written  in  order  to  present  to  the  eye  (as  well  as  to  the  ear  and  mind 
and  heart)  some  of  those  facts  with  regard  to  the  past  and  present  work  of  the  Church  in 
Wales,  upon  which  we  base  our  urgent  claim  '  that  the  Church  shall  not  be  dismembered,  and 
four  of  its  Dioceses  disestablished  and  disendowed.' 

"  The  limitations  of  a  '  stage-play  '  have  compelled  the  Author  ...  to  abbreviate  and  con 
dense  matter  of  much  historical  importance.  Lighter  touches  have  been  introduced  here  and 
there  in  order  to  counterbalance  the  dullness  that  might  result  from  the  scrupulous  care  that 
has  been  taken  to  suppress  all  references,  however  attractive,  to  persons  or  parties  in  the 
treatment  of  a  subject  which  is  at  present,  unhappily,  part  of  a  political  programme."  3 

After  "  a  reveille  in  aid  of  the  Church  in  Wales  "  and  a  "  prologue,  to  be  spoken  by  the 
Angel  of  Wales,"  comes  scene  i  —  "A  Point  of  Law  "  —  which  takes  place  in  the  library  of 
Sir  Richard  Juxon,  a  Liberal  Member  of  Parliament.  To  this  defender  of  the  Welsh  Church 
Bill  —  whose  wife  has  begged  him  in  vain  not  to  vote  for  the  measure  —  the  Angel  of  Wales 
appears  in  a  dream,  after  he  has  fallen  asleep  with  the  reveille  echoing  in  his  ears.  The  Angel 
reveals  to  him  the  history  of  the  Welsh  Church,  from  530  to  1914  in  a  series  of  episodes  — 
which  are  not  so  called. 

First,  St.  David  blesses  King  Arthur  "  at  early  dawn  ";  the  next  scene  shows  "  how  the 
Church  received  lands  —  Guidnerth's  gift,  A.D.  590  ";  the  third,  "  Gerald,  the  Welshman," 

1  My  authority  here  is  Mr.  Perkins  himself.     (Mr.  Gilbert  Hudson    "  conducted,  and 
partly  wrote  "  this  "  pageant,"  he  says,  in  a  letter  of  16  August,  1918.) 

2  Non-conformists  as  well  as  Church  people. 

3  That  is,  the  Welsh  Church  Disestablishment  Bill,  a  policy  of  the  Liberal  Government. 


THE  PARKERIAN  PAGEANT  231 

c  1185  — which  is  based  partly  on  Giraldus  Cambrensis'  Itinerary  through  Wales);  the  next, 
"A  Measure  of  Disendowment.  The  Selling  of  the  Monasteries,  1537,"  followed  by  "An 
other  Measure  of  Disendowment,  1651-1653.  The  Puritan  Failure."  Finally  we  see  "  St. 
Teilo's  Clergy  House,  Llanclwyd,  1914  "  —  a  scene  in  a  Welsh  parish  of  the  present.  After 
this  series  of  pageantic  episodes,  the  scene  returns  to  the  M.P.'s  library;  Sir  Richard,  aroused 
by  a  message  from  the  House,  goes  to  vote  against  the  Disestablishment  of  the  Welsh  Church. 
"  And  I  shall  vote  that  the  Church,  which  has  done  so  much  and  suffered  so  much,  shall  not 
be  disturbed."  Then,  after  an  appeal  by  the  Angel  of  Wales  to  the  audience,  the  actors  in 
the  various  episodes  appear  and  all  sing  "  O  God,  our  help  in  ages  past.  .  ." 

This  "  play-pageant  "  was  given  by  Church  people  in  York,  and  it  was  planned 
to  have  others  give  it  in  various  parts  of  England,  in  order  to  influence  public 
opinion  before  the  bill  against  which  it  was  directed  should  be  passed.  Techni 
cally,  it  is  not  unlike  Mr.  Knoblauch's  My  Lady's  Dress;  though  the  material 
which  lay  between  the  first  and  last  acts  of  the  latter  play  was  not  pageantic. 

The  historical  pageant  has  a  well-defined  technique,  which  is  capable,  it  is 
true,  of  certain  variations;  and  on  the  outskirts  of  this  new  art  lie  many  possi 
bilities  —  plots,  masques,  interludes  —  which  may  be  combined  into  enter 
tainments  more  or  less  pageantic.  The  spirit  of  the  Parkerian  work  is  also 
well-defined,  but  is  capable  of  being  diluted  to  almost  any  weakness;  and  in 
determining  what  is,  or  what  is  not,  a  pageant,  both  elements  must  be  taken 
into  account. 

§  9.    CONCLUSION 

This  survey  of  the  modern  historical  pageant  in  England  makes  clear  two 
things:  first,  that  Mr.  Parker  is  not  aware  of  any  debt  to  the  older  pageantry; 
and  secondly,  that  while  Mr.  Parker's  productions  may  be  considered  the  norm 
of  the  modern  pageant,  if  you  will,  there  may  be  a  considerable  variation  from 
that  norm.  Of  the  older  pageantry,  only  the  "  soul  "  exists  in  the  newer  —  and 
that  is  somewhat  modified;  the  "  technique,"  and  "  spirit  "  have  changed:  the 
former  is  more  that  of  the  masque  (or  even  of  the  theatre),  and  the  latter  is 
"  popular,"  not  only  because  given  for  the  people,  but  by  them,  as  well. 

The  older  pageant  was  a  procession  in  which  symbolism,  history,  allegory, 
and  mythology  grew  up,  and  had  to  be  explained;    the  pageant  itself  was  the 
platform  or  wagon  on  which  these  characters  —  appropriate  to  the  occasion  — 
stood.    It  always  remained,  even  when,  in  the  seventeenth  century,  speech  was 
an  important  part  of  it,  the  least  dramatic  of  all  dramatic  forms.    Modern  pag 
eantry  differs  much  from  this,  in  that  it  is  essentially  dramatic.    Like  the  masque, 
one  episode  follows  another  across  the  stage  —  a  "  procession  of  events  " 
while  the  audience  remains  seated  in  one  place,  and  looks  upon  one  arena.  Each 
episode  tells  a  story,  but  is  more  than  purely  expository;  and  the  older  allegory 
has  largely  given  way  to  historical  individuals. 

Because  each  episode  has  a  connected  story  to  tell,  the  words  are  important; 
and  the  audience  is  often  restricted  —  especially  in  England  —  to  those  who  can 


232  ENGLISH  PAGEANTRY 

hear  what  is  said.  Sometimes  music  and  dancing  are  allowed  to  break  the  nar 
rative  chain  l  —  but  these  two  elements  are  more  important  in  America  —  as 
we  shall  see  —  than  in  England. 

Mr.  Parker  is,  as  we  have  noted,  distinctly  opposed  to  street-processions, 
and  his  pageants  broaden  the  "  popular  "  element,  characteristic  of  the  older 
shows.  Not  only  was  the  first  performance  open  to  all  free  of  charge,2  so  that 
the  townspeople  could  see  their  pageant  as  easily  as  they  saw  their  street  pa 
rades;  but  a  much  larger  proportion  of  the  community  took  part  in  the  Show. 
This  awoke  a  local  pride  (almost  of  ownership)  in  the  past  of  the  town  which 
the  older  pageant  had  failed  to  awaken.3 

The  earlier  triumph  was  built  around  a  person  or  an  office,  and  aimed  to 
amuse;  in  the  modern  pageant,  the  attention  which,  in  former  times  was  fastened 
on  king  or  mayor,  is  focussed  on  the  town  —  and  the  people  are  instructed,  as 
well  as  entertained.  There  was  symbolism  and  allegory  in  the  earlier  work;  and 
a  morality-element  appeared  in  the  "  Be  good  and  you'll  be  famous  "  of  An 
tiquity,  Time,  or  Fame  to  the  Lord  Mayor.  This  preaching — mixed  with 
flattery  as  it  was  —  did  not  affect  the  populace  whose  attention  was  held  by 
the  various  "  inventions  "  of  the  show;  but  the  preaching  and  the  allegory  were 
there.  In  the  modern  work,  lessons  in  history  are  presented  with  a  dramatic 
effectiveness  which  is  comparable  to  that  of  the  Elizabethan  chronicle-play,4  and 
which  impresses  not  only  the  local  performer  and  auditor,  but  also  the  stranger 
from  afar. 

The  modern  pageant,  then,  shows  the  same  progress  over  the  earlier,  that  the 
chronicle-history  showed  over  the  morality. 

ENGLISH  AND  AMERICAN  PAGEANTRY 

American  pageantry  differs  from  the  English,  in  that  it  is  less  dramatic,  more 
symbolic  —  as  a  rule  —  and  seems  to  be  freer  to  take  some  subject  not  strictly 
historical.  In  England,  the  emphasis  of  a  pageant  is  on  the  past  of  the  town  that 
gives  it;  yet  a  strong  community  spirit  is  aroused,  and  the  civic  pride  engen 
dered  is  expected  to  bear  some  fruit  in  civic  betterment.  This  result  of  pageantry 

1  It  is  hard  to  tell,  from  the  account  of  the  Quebec  Pageant,  just  how  large  a  part  speech 
played  in  the  presentation  of  the  historic  scenes;   there  was  plenty  of  music  and  dancing  in 
many  of  the  episodes.    (Of  course  the  importance  of  speech  does  not  determine  whether  or 
not  a  given  entertainment  is  a  pageant;  it  is  merely  a  detail  of  technique.) 

2  His  pageants  usually  "  ran  "  for  a  week,  and  the  first  performance  was,  he  tells  me, 
open  to  all  without  charge.    The  whole  town  could  thus  see  its  pageant  for  nothing;   the 
performance  made  a  good  "  dress-rehearsal,  and  nothing  was  lost  by  the  omission  of  street 
parades. 

3  Unless,  perhaps,  in  the  case  of  those  shows  whose  annual  recurrence  made  a  civic  holiday. 
Any  established  institution  must  awaken  a  sense  of  the  past,  even  if  it  is  subconscious. 

4  "  Marlborough,  you  recollect,  said,  he  knew  no  English  History  but  what  he  had  learned 
from  Shakespeare."    Carlyle,  The  Hero  as  Poet. 


THE  PARKERIAN  PAGEANT  233 

is,  as  we  shall  see,  emphasized  in  America,  so  that  what  is  almost  a  "  by-product  " 
of  the  English  work,  becomes  the  raison  d'etre  of  many  American  pageants. 
Hence  the  term  "  futuristic  "  pageant;  hence,  also,  one  reason  for  the  increase 
of  symbolism  in  the  work  done  on  this  side  of  the  ocean.1 

England  is  not  dead,  and  we  are  not  wholly  without  a  past;  in  the  main, 
the  difference  between  the  pageants  in  England  and  America  is  due  to  the  mental 
attitude  of  the  two  countries.  As  Mr.  Parker  says,  England  talks  of  the  "  good 
old  times,"  and  America  of  "  the  good  times  that  are  to  come." 

There  are,  of  course,  plenty  of  historical  pageants  given  on  this  side  of  the 
water;  but,  whereas  in  England  "  the  York  Pageant  "  means  a  pageant  giving 
the  history  of  York,  we  cannot  be  sure  whether  "  the  New  York  Pageant  " 
sets  forth  the  history  of  that  town  or  not.2  In  any  case,  we  may  be  sure  that  the 
American  pageant  is  likely  not  to  confine  itself  to  history,  though  this  generaliza 
tion  —  like  every  other  —  has  its  many  exceptions.  In  America,  we  are  more 
apt  to  build  a  pageant  around  an  idea  than  a  town. 

Like  many  other  things  in  this  country,  the  pageant  which  came  to  us  from 
oversea  has  become  naturalized,  and  is  changed  to  suit  American  conditions. 
But,  like  the  modern  English  pageantry,  its  underlying  spirit  is  educational. 
When  we  do  not  give  dramatic  expositions  —  or  expository  dramas  —  we  fall 
back  on  symbolism;  more  often  we  combine  the  two,  using,  in  the  process,  a 
considerable  amount  of  allegory. 

The  new  form  of  dramatic  expression,  which  came  into  being  with  Mr.  Par 
ker's  Sherborne  Pageant  of  1905,  is,  probably,  the  result  of  various  forces  which 
in  the  last  century  began  to  turn  men's  minds  to  the  past.  It  owes  no  direct 
influence,  however,  to  the  pageants  we  have  been  studying —  at  least,  it  owns 
no  debt.  It  has  been  a  potent  educational  force,  and  has  stimulated  community- 
spirit;  and  now  that  the  war  is  over,  bids  fair  to  spring  into  a  new  life  voicing  an 
enthusiastic  patriotism. 

The  forms  which  this  new  mode  of  artistic  expression  is  taking  in  America, 
we  shall  leave  to  the  next  chapter. 


1  In  this  connection,  "  futuristic  "  has  no  relationship  with  present-day  movements  in 
art  and  music.    I  mean  simply  "  looking  to  the  future." 

2  As  a  matter  of  fact,  both  in  England  and  America,  those  pageants  which  officially  bear 
the  name  of  a  place  usually  lay  most  of  their  emphasis  on  the  his  ory  of  that  place.    It  will 
be  recalled  that  there  was  much  beside  Scotch  history  in  the  Scottish  National  Pageant  at 
Edinburgh. 


YORK  HISTORIC  PAGEANT,  1909 
EXECUTIVE  COMMITTEE 

ACCOUNT  OF  RECEIPTS  AND  PAYMENTS  TO  yra  OCTOBER,  1909 

j        00                     O  *O         O    O    O    fO'O    O  1O   t*^  O\  1*0        O    O    O         ^  O    O    O    O*  **J"  *"O  w    O  VO 

"                                                                              M                                                                                                MM 

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C/>                                                                                       M                                         M              W                       IH 

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13,677  9  2 
Treasurer's  Hands  762  9  7 

£14,439  18  9 

ve  Committee  of  the  York  Historic  Pageant  and  prepared  therefrom  the  foregoing  statement  which 
(Signed)  BARRON  &  BARRON,  Chartered  Accountants. 

)TE  BY  THE  AUDITORS. 

es  not  represent  the  final  balance,  as  a  few  costumes  and  properties  have  still  to  be  disposed  of,  and 
ill  have  to  be  paid.  In  addition,  certain  Honoraria  and  Commission  have  to  be  paid  in  accordance 

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We  certify  that  we  have  examined  the  Books  and  Accounts  of  the  Executi 
we  certify  to  be  correct, 
i,  MINSTER  GATES,  YORK,  2oth  October,  1909. 

N( 

The  amount  of  £762  95.  7d.,  in  the  hands  of  the  Honorary  Treasurer,  do 
a  few  accounts,  including  the  expenses  in  connection  with  the  final  meetings,  \\ 
with  Agreements,  and  Bank  Interest  will  be  received. 

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234 


CHAPTER  IX 

PAGEANTRY  IN  THE  UNITED  STATES 

ALMOST  every  American  thinks  he  knows  what  a  pageant  is,  and  most  of 
us  have  seen  —  if  we  have  not  taken  part  in  —  at  least  one.  Here  is  no 
attempt  to  give  directions  for  producing  a  pageant,1  nor  a  list  of  all  the  pageants 
which  have  been  produced  in  this  country.  Hardly  a  day  goes  by  that  one  does 
not  see  in  the  daily  papers  accounts  of  a  pageant  just  given  or  about  to  be  given. 
The  whole  country  is  in  a  fair  way  to  become  pageant-mad ;  and  in  this  madness 
pageantry  has  taken  on  many  different  shapes. 

What  I  plan  to  do  in  this  chapter  is  to  divide  pageantry  into  its  three  main 
classes,  giving  examples  of  each  kind  —  not  always  from  the  best-known  pag 
eants.  Perhaps  when  this  survey  has  been  made,  we  shall  be  able  to  define 
pageantry;  at  least  the  reader  should  be  able  to  classify  any  pageant  in  which 
he  has  been  particularly  interested. 

Strict  rules  for  pageant- writing  cannot  be  laid  down.  As  a  living  language 
is  constantly  changing,  and  the  rules  thereof  can  never  be  absolutely  fixed,2  so 
pageantry  cannot  be  strictly  defined,  for  it  is  still  in  the  making.  It  is  a  sign 
of  the  speed  at  which  we  live,  that  we  demand  definitions  of  this  form  of  artistic 
expression  when  it  is  still  in  its  infancy;  but  many  tentative  definitions  have 
already  been  made. 

It  is  possible  that  the  reader  may  not  be  able  to  find,  in  the  illustrative  ex 
amples  I  shall  give,  any  pageant  which  exactly  conforms  to  the  one  he  is  trying 
to  classify.  But  such  a  pageant  must  fall  into  one  of  two  big  classes:  it  was 
either  peripatetic,  or  it  was  given  in  one  place.  These  are  the  two  great  divisions; 
and  we  shall  begin  our  survey  of  American  pageantry  with  the  pageantic  pro 
cession. 

§  i.    PROCESSIONAL  PAGEANTRY 

Historically,  as  we  have  seen,  a  pageant  is  a  procession  with  floats  or  images 
carried  about  the  streets,  or  a  procession  which  marched  from  one  stationary 
platform  to  another.  On  these  platforms  were  various  symbolic,  or  historical, 
allegorical,  or  mythological  personages  —  so  that  even  without  speech,  we  find 
the  "  body  "  and  "  soul  "  of  the  older  pageantry  already  joined.  These  pro- 


1  The  interested  reader  may  rind  hints  on  this  subject  in  Bates  and  Orr's  Pageants  and 
Pageantry,  Davol's  Handbook  of  American  Pageantry,  Constance  Mackay's  Plays  of  the  Pi 
oneers,  pp.  161  ff .,  my  Manual  of  Pageantry,  and  Crawford  and  Beegle's  volume. 

2  Greenough  and  Kittredge,  Words  and  Their  Ways,  pp.  76,  77. 


235 


236  ENGLISH  PAGEANTRY 

cessions  have  been,  and  still  are,  extremely  common  in  America;  although  we 
have  nothing  which  exhibits  the  continuity  of  the  London  Lord  Mayor's  Show. 

The  "  Pope  "  processions  in  Boston  l  remind  us  of  the  earlier  folk-processions 
with  giants,  although  they  are  more  "  sophisticated  "; 2  the  Puritan's  attitude 
toward  the  Pope,  and  that  of  the  Revolutionary  toward  the  royal  governor  are 
clearly  marked. 

At  Boston,  on  8  February,  1 788,  in  celebration  of  the  ratification  of  the  Federal 
Constitution  by  the  Massachusetts  Convention,  a  big  trade  procession  was  held.3 
In  the  same  year,  "  on  Friday  the  fourth  day  of  July,  1788,  the  citizens  of  Phila 
delphia  in  commemoration  of  the  great  event  of  AMERICAN  INDEPENDENCE  .  .  . 
presented  the  most  brilliant  and  interesting  spectacle  that  ever  occurred  in  the 
annals  of  the  new  world,  and  which  has  scarcely  been  surpassed  by  the  splendor 
of  the  ancient  or  modern  triumphs  of  Asia  or  of  Europe."  4  An  historic  event 
was  reproduced  —  on  the  site  of  the  actual  happening  —  in  New  England,  early 
in  the  nineteenth  century. 

EARLY  HISTORICAL  PAGEANTRY — THE  FESTIVAL  AT  PLYMOUTH  IN  1801 

On  22  December,  1801,  Forefathers'  Day  was  celebrated  at  Plymouth, 
Massachusetts,  by  an  "  interesting  piece  of  pageantry,"  which  was  preceded  by 
a  procession,  headed  by  Captain  Turner's  independent  company  in  complete 
uniform.  The  line  of  march  led  around  the  town;  the  procession  escorted  the 
clergyman  to  the  meeting-house;  and  after  divine  service  the  company  dined 
at  Old  Colony  and  Freedom  Halls.  During  this  celebration,  "  an  Indian,  dressed 
in  the  habiliments  of  a  Sachem,  met  Capt.  TURNER  in  the  place  where  Massasoit 
was  first  discovered,  and  the  emblems  of  peace  and  friendship,  which  were  inter- 


1  Cf.  above,  p.  176  f. 

2  That  is  to  say,  no  survival  of  the  "  human  sacrifice  "  is  seen  here  —  nor  is  the  effigy  the 
descendant  of  any  fertilization  divinity.    Massachusetts  undoubtedly,  as  has  been  pointed 
out,  inherited  the  custom  from  England. 

3  See  the  Massachusetts  Centinel  of  9  February,  (viii,  p.  169),  of  13  February  (viii,  p.  174), 
cited  by  Albert  Matthews,  "  The  Term  '  Pilgrim  Fathers,' "  in  PuU.  Col.  Soc.  Mass.,  for 
December,  1914,  p.  313,  n.  5.    (The  Massachusetts  Spy  of  7  August,  1788,  calls  this  the  first 
of  many  processions  to  demonstrate  joy.) 

4  Cited,  from  the  Columbian  Magazine  (ii,  pp.  391-400)  for  July,  1788,  in  Publ.  Col.  Soc. 
Mass.,  for  December,  1914,  p.  313,  n.  5. 

The  same  note  contains  a  passage  from  R.  Davol,  Handbook  of  American  Pageantry  (1914), 
pp.  27,  31:  "A  procession  through  the  streets  of  floats  on  which  historic  occasions  are  rigidly 
impersonated  by  '  live  people  trying  to  look  like  dead  ones  '  is  commonly  called  a  pageant  in 
America,  for  example  at  Philadelphia,  or  the  Hudson-Fulton  celebration  .  .  .  Research  as  to 
the  beginning  of  modern  American  Pageants  indicates  that  the  spirit  was  manifest  as  early 
as  1627  at  the  Merry  Mount  revels  .  .  ."  The  student  of  pageantry  must  be  careful  not  to 
confuse  the  revel  with  the  pageant  —  though  the  former,  whether  processional  or  not,  con 
tains  the  germ  of  the  latter. 


PAGEANTRY  IN  THE  UNITED  STATES  237 

changed,  brought  into  view,  an  interesting  scene,  that  existed  soon  after  the 
arrival  of  our  ancestors.  A  sprightly  ball  at  Old  Colony  Hall,  in  which  the  ladies, 
by  their  participation,  heightened  the  social  enjoyment,  crowned  the  anniversary 
festival."  : 

PAGEANTIC  PROCESSION  AT  ST.  Louis  IN  1847 

The  anniversary  of  the  founding  of  St.  Louis  was  celebrated  15  February, 
1847,  and  included  a  pageantic  procession.2  Among  the  marchers  "  were  four 
Indians,  dressed  in  full  costume,  and  mounted  on  horses,  after  the  manner  of  the 
aboriginal  tribes  of  this  country.  They  very  appropriately  constituted  the  guard 
of  honor,  for  the  venerable  President 3  had  witnessed  the  day  when  the  presence 
of  friendly  Indians  had  been,  in  fact,  a  guard  and  a  protection  to  him. 

"  Succeeding  the  invited  guests,  came  an  admirable  representation  of  the 
Gen.  Pike,  the  first  steam  boat  which  arrived  at  St.  Louis.  .  .  .4  Next  followed  a 
model,  drawn  on  wheels,  of  that  noble  boat  which  boasts  not  only  the  name  of 
the  founder  of  St.  Louis,  but  also  that  she  was  built  in  the  city  by  St.  Louis 
mechanics,  and  of  St.  Louis  materials  —  the  '  Laclede.'  In  no  way  could  the 
contrast  between  the  pioneer  boat,  and  those  of  the  present  day,  have  been  more 
strikingly  presented  .  .  . 

"  Following,  came  the  Mayor  and  city  officers,  two  and  two. 


1  From  the  Columbian  Centinel  for  30  December,  1801,  pp.  2,  3,  —  cited  by  Mr.  Matthews 
in  the  Publ.  Col.  Soc.  Mass,  for  December,  1914,  pp.  314  f.    I  am  indebted  to  Professor  Kit- 
tredge  for  calling  the  paper  to  my  attention. 

2  A  full  account  of  this  event  may  be  found  in  a  pamphlet  entitled  Report  of  the  Celebration 
of  the  Anniversary  of  the  Founding  of  St.  Louis  on  the  fifteenth  day  of  February,  A.D.  1847.    Pre 
pared  for  the  Missouri  Republican.    Printed  by  Chambers  and  Knapp.    1847.    [H.  L.,  US 
25390.7.5].    This  is  my  authority  for  the  following  remarks. 

3  M.  Pierre  Chouteau,  the  President  of  the  day,  was  "  the  only  survivor  of  those  who 
landed  at  this  spot,  with  Laclede,  on  the  isth  February,  1764."    He  rode  in  a  carriage  in  the 
procession. 

May  we  assume  that  these  Indians  were  real  ones  —  not  men  dressed  up  to  represent  the 
aborigines  ? 

4  Cf.  the  Welcome  at  Philadelphia  (1882),  the  Don  de  Dieu  at  Quebec,  (1908),  and  the 
Half-Moon  and  Clermont  at  New  York,  (1909).    Cf.  also  the  viking-ship  at  Rouen  in  1911 
(above,  p.  164),  and  the  Argo  of  the  London  Shows  of  1615  and  1623  (above,  p.  73  and  n.  4) 
where  trade-symbolism  was  linked  with  mythology.     Cf.  also  the  boats  in  more  recent  Lord 
Mayor's  Shows,  e.  g.,  that  of  1891  (above,  p.  126).    These  are,  perhaps,  developments  of  the 
"  folk-ships  "  (cf.  above,  vol.  i,  p.  n  f.)  to  which  an  historical  meaning  has  been  given;  if 
there  be  not  an  independent  development,  this  connection  is  probably  not  consciously  recog 
nized.    "  This  miniature  representation  was  about  20  feet  long;   the  hull,  that  of  a  barge, 
and  the  cabin,  on  the  lower  deck,  run  up  inside  of  the  running  board.    The  wheels  were  ex 
posed,  being  without  a  wheel  house  —  she  was  propelled  by  a  low  pressure  engine,  with  a 
single  chimney,  and  a  large  walking  beam  ...  It  was  mounted  on  wheels,  and  drawn  by  eight 
white  horses.    The  boat  was  manned  by  a  crew  of  steam  boat  captains,  who  appeared  in  the 
dress  usually  worn  by  the  officers  and  men,  in  their  various  stations  .  .  ." 


238  ENGLISH  PAGEANTRY 

"  To  them  succeeded  the  Fire  Department,  in  the  order  of  incorporation,  and 
in  all  the  splendor  of  their  rich,  but  useful  regalia  ....  Following  this,1  were  a 
number  of  Indians,  in  full  costume,  who  played  well  their  characters.  .  ."  2 

After  various  other  marching  clubs  and  societies,  "  came  a  large  company 
dressed  in  masques,  in  carriages  and  on  horseback.  This  portion  of  the  pageant 
excited  no  little  amusement,  from  the  grotesqueness  of  the  dresses,  and  the  va 
riety  of  the  characters.  It  would  be  impossible,  in  this  place,  to  attempt  a 
description  of  the  various  male  and  female,  white  and  black,  old  and  young, 
Yankee,  French  and  other  characters,  presented  and  generally  well  sustained. 
Everywhere,  they  called  forth  the  repeated  cheers  of  the  crowd."  This  sugges 
tion  of  revels  in  the  midst  of  the  procession  is  not  an  uncommon  feature  of  such 
parades,  though  it  appears  oftener  in  those  celebrating  a  holiday  —  such  as 
Mardi  Gras  or  May  Day  —  than  an  historical  anniversary.3  All  this  kind  of 
thing  needs  to  become  pageantry  is  a  central  idea,  and  a  weeding-out  of  those 
characters  which  do  not  fit  it. 

"  M.  Sutter,  who  was  the  first  to  establish  an  omnibus  in  the  city,  followed, 
with  one  of  his  omnibuses,  drawn  by  four  horses,  filled  with  citizens. 

"  Henry  Dolde's  car,  on  which  there  was  a  profusion  of  bread,  came  next. 

"  Then  came  the  Public  Schools  ...  In  the  line  of  Public  Schools,  was  a  ban 
ner  which  was  prepared  for  the  occasion,  and  presented  to  the  schools,  by  the 
Board  of  School  Directors.  It  was  happily  conceived  and  beautifully  executed. 
On  the  one  side,  is  Minerva,  the  Goddess  of  Wisdom,  pointing  with  her  left 
hand  to  the  Temple  of  Science,  placed  on  the  top  of  a  rugged  mountain,  with  the 
Temple  of  Fame  in  the  back  ground  —  her  right  hand  is  resting  on  a  shield.  At 
her  feet  is  a  globe,  and  a  telescope,  levels,  and  various  mathematical  scientific 
instruments.  Over  this  device,  is  the  motto,  '  Knowledge  is  Power.'  Surround 
ing  this  device  are  the  words,  '  St.  Louis  Public  Schools.' 

"  On  the  reverse,  is  a  view  of  St.  Louis  from  the  Illinois  shore —  over  which 
is  placed  the  word  Excelsior.  .  ." 

Then  came  Masons,  Odd  Fellows,  and  other  fraternal  organizations  —  the 
Odd  Fellows  with  a  banner  on  which  Charity  was  represented  "  dispensing  bless 
ings  to  the  orphan."  Such  banners  are  worth  noting  only  because  they  seem  to 
show  a  development  from  the  tableau  vivant  on  the  pageant-car;  there  have  been, 
as  we  have  remarked,  painted  scenes  on  pageants  from  very  early  times. 

"  Following  these,  came  a  large  deputation  of  Brewers,  ist,  a  mammoth 
cask,  sufficiently  capacious  to  hold  about  eighteen  barrels  of  beer,  mounted  on 

1  The  banner  of  one  of  the  companies.    It  may  be  remarked  that  the  banner  of  the  Wash 
ington  Hose  Company  bore  the  likeness  of  the  General  and  that  of  the  Phoenix,  the  landing 
of  Laclede;  cf.  the  banners  in  the  modern  Ulster  processions  (above,  p.  181). 

2  These  were  evidently  white  men,  disguised. 

3  Attention  may,  however,  be  called  to  the  centenarian  procession  at  Bournemouth, 
pictured  in  the  Illus.  Lond.  News  for  16  July,  1910,  pp.  90-91.    It  had  various  "  satirical  " 
features,  and  included  many  "  chars,"  rivalling  "  Nice  in  gaiety." 


PH 


W 

H 


o 

=2 


PAGEANTRY  IN  THE  UNITED  STATES  239 

a  car,  drawn  by  four  gray  horses.  On  this  car,  was  a  representation  of  the  King 
of  Flanders  and  Brabant,  fancifully  said  to  be  the  inventor  of  beer,  dressed  in 
his  royal  robes,  and  bearing  in  his  out-stretched  hand  an  overflowing  pitcher  of 
the  beverage  .  .  .  Then  another  cask  of  equal  size,  drawn  by  four  gray  horses. 
This  cask  was  filled  with  beer,  and  around  and  on  the  car  were  the  implements 
of  brewing  ..."  Others  followed  and  "  on  each  car  were  a  number  of  brewers 
and  ...  a  good,  round,  portly  representation  of  a  hearty  jolly  beer-drinker  .  .  . 

"  Immediately  after  these  came  the  Coopers.  They  were  preceded  by  a  large 
new  cask  .  .  .  drawn  on  a  car  by  four  horses.  A  master  cooper,  with  his  compass, 
sat  astride  of  the  cask,  whilst  several  coopers  walked  by  the  side,  holding  ribbons 
attached  to  it  ..." 

Other  school  children  and  University  students  followed  with  banners;  "  after 
the  schools,  came  a  printing  press,  in  a  car,  and  several  boys  engaged  in  working 
off,  and  distributing  to  the  crowd,  the  following  ode,  composed  for  the  occasion  " 
by  John  P.  Shannon. 

Other  trade  societies  followed,  some  of  which  bore  banners  showing  various 
implements  of  their  callings.  The  various  exercises  which  took  place  after  the 
procession  had  disbanded  are  described  at  length  in  the  pamphlet  from  which 
I  have  cited. 

THE  BOSTON  CELEBRATION  OF  1880 

The  two  hundred  and  fiftieth  anniversary  of  the  settlement  of  Boston  was 
celebrated  with  two  "  pageants,"  or  processions  with  floats.1  A  "  Civic,  Military 
and  Trades  "  procession  was  followed  by  an  "  Evening  Procession  "  of  two 
divisions  —  the  first  dealing  with  "  History  and  Tradition,"  the  second  with 
"  Allegory."  Between  each  two  cars  marched  torch-bearers,  and  the  "  floats  " 
were  lighted  in  various  ways. 

THE  PENNSYLVANIA  BICENTENARY  IN  1882 

"  The  foundation  of  the  Colony  of  Pennsylvania  .  .  .  was  commemorated  on 
Oct.  22,  and  on  three  or  four  days  following,  with  a  Bicentenary  Festival  which 
drew  great  numbers  of  visitors  to  the  city  of  Philadelphia  .  .  .  The  festival  pro 
ceedings  .  .  .  after  a  special  Quaker  religious  service  on  Sunday,  the  22nd,  began 
next  day  with  a  rehearsal  of  this  scene  [Penn's  landing  at  Chester,  22  October, 
1682]  in  which  Penn  and  his  suite,  represented  in  old-fashioned  costume  by  the 
Chester  Dramatic  Company,  landed  at  Penn-street  wharf,  Chester,  the  spot  of 
the  original  landing;  and  the  Governor  of  Pennsylvania  received  him,  the  United 
States  squadron  in  the  river  saluting  with  its  guns.  After  an  address  of  welcome, 
with  other  services,  2000  school  children  sang  patriotic  songs,  and  Penn  was 
escorted  through  Chester  by  a  procession  composed  of  civic  and  trade  societies. 

1  See  the  Celebration  of  the  2$oth  Anniversary  of  the  Settlement  of  Boston,  printed  by  order 
of  the  City  Council;  Boston,  1880;  cf.  esp.  pp.  109-149,  153-162.  The  tableaux,  or  "floats," 
are  illustrated. 


240  ENGLISH  PAGEANTRY 

In  the  procession  was  carried  a  model  of  Penn's  original  house  at  Upland,  built 
in  1683,  which  still  exists.  Fire  works  closed  the  Chester  celebration  at  night, 
and  the  city  of  Philadelphia  took  up  the  course  of  festive  performances  and  ex 
hibitions  in  the  ensuing  days.  There  was  a  second  landing  from  the  old  ship 
Welcome,1  at  the  foot  of  Dock-street,  where  Penn  actually  came  ashore,  in  that 
part  of  the  river,  at  his  first  visit  to  America.  His  representative  in  this  cele 
bration  was  conducted  to  the  landing  place  by  Admiral  Cooper,  with  the  North 
Atlantic  Squadron  of  the  United  States  Navy,  amid  salvoes  of  artillery  and  the 
cheers  of  the  populace.  There  was  a  grand  parade,  representing  all  the  indus 
tries  and  trade  societies  of  Philadelphia,  to  escort  Penn  through  the  streets. 
The  subsequent  nights  were  given  up  to  illuminations  and  fireworks  and  the 
days  to  a  succession  of  parades  .  .  .  Ships  and  locomotives  were  drawn  through 
the  streets,  looms  were  shown  in  operation,  and  iron  forges  in  active  work.  The 
mimic  William  Penn  met  with  a  gorgeous  reception,  not  to  forget  the  appear 
ance  of  multitudes  of  Red  Indians,  for  which  sundry  bands  of  city  youths  were 
attired  in  savage  guise.  It  should  be  observed  that  in  1682,  before  the  advent 
of  the  English  Quakers,  there  were  a  few  Dutch  and  Swedish  settlers,  the  descend 
ants  of  Protestant  refugees  from  Europe,  already  dwelling  on  those  Transatlantic 
shores.2  The  masquerading  figures  in  the  commemorative  performance  shown 
in  our  illustration  3  therefore  include  both  Dutchmen  and  Swedes  .  .  .  the  burly 
Dutch  burgomaster,  with  other  leading  men  of  the  community,  proffers  a  friendly 
welcome  to  the  founder  of  Pennsylvania  in  front  of  the  Blue  Anchor  Tavern."  4 

PROCESSIONAL  FEATURES  or  THE  QUEBEC  CELEBRATION,  JULY,  1908 

Although  Quebec  is  not  in  the  United  States,  we  may,  perhaps,  be  permitted 
to  call  attention  to  the  processional  features  of  her  tercentenary  celebration. 
On  Sunday,  19  July,  1908,  there  was  a  procession  to  the  monument  of  Cham- 
plain;  Quebec's  usually  quiet  streets  were  alive  with  "  men  dressed  in  the  mili 
tary  garb  of  Wolfe  and  Montcalm,  courtiers  of  old  France  and  primitive  settlers 
of  New  France,  her  off-spring."  5  When  the  marchers  arrived  at  the  monument, 
a  poem  was  read  and  various  addresses  delivered.6  On  the  next  day,  Heralds- 
at-Arms,  with  watchmen  in  armor,  marched  through  the  city,  "as  in  the  days 
of  Frontenac  .  .  .  proclaiming  to  the  citizens  the  events  of  the  day  and  the  occur 
rences  of  the  morrow."  7  British,  French,  and  American  warships  met  in  the 


1  Cf.  St.  Louis,  1847;  Quebec,  1908,  New  York,  1909. 

2  "  The  meek  shall  inherit  the  earth!  " 

3  Cf.  p.  520  of  this  number  of  the  Illus.  Lond.  News;  the  source  of  the  drawing  is  not  i  n- 
dicated.    It  is,  of  course,  not  a  photograph;  but  is  it  entirely  fanciful  ? 

4  Illus.  Lond.  News  for  18  November,  1882,  p.  519. 

5  Carrel,  Quebec  Tercentenary  History,  p.  17.    A  triumphal  arch,  called  "  The  Tower  of 
Welcome,"  was  erected  in  front  of  the  archepiscopal  palace.  —  This  is  illustrated,  ibid.,  p.  19. 

6  Op.  tit.,  pp.  19-24.  7  Ibid.,  p.  25. 


PAGEANTRY  IN  THE  UNITED  STATES  241 

harbor,  and  the  "  acute  struggles  "  of  the  past  "  were  now  marked  but  by  pleas 
ant  friendship  and  common  rejoicings."  l 

The  other  features  of  the  tercentenary  celebration  will  be  noted  later.2  In 
connection  with  the  Don  de  Dieu  which  appeared  at  Quebec,  and  the  Welcome, 
at  Philadelphia  in  1882,  the  following  paragraph  is  of  interest:  "The  great 
pioneer's  [Champlain's]  first  landing  at  St.  John,  New  Brunswick,  was  repro 
duced  on  St.  John's  Day  in  1904,  at  St.  John.  Our  photograph  .  .  .  represents 
this  ceremony,  where  an  exact  copy  of  Champlain's  ship  was  used,  as  at  Quebec 
this  year."  3 

On  23  July,  1908,  at  Quebec,  the  Prince  of  Wales  [George  V]  reviewed  an 
"  historical  procession  "  4  which  included  mounted  heralds,  men  of  the  watch, 
Cartier  and  his  soldiers,  Francois  I  and  his  Queen,  and  many  others.  These 
seem  to  have  been  the  characters  of  the  "  historical  pageant,"  of  which  we  shall 
make  mention  below;  there  were,  apparently,  no  cars  in  this  procession.6 

SPRINGFIELD  STREET-PAGEANT  or  4  JULY,  1908 

A  Parade  of  Nations,  "  while  of  the  float  type,  and  civic  rather  than  historical 
in  character,  was  nevertheless  the  first  parade  possessing  any  notable  civic 
value,"  was  given  under  the  direction  of  Mr.  William  Orr  at  Springfield  (Massa 
chusetts)  on  4  July,  1908.  It  was  listed  by  the  American  Pageant  Association 
as  particularly  noteworthy  "  because  of  what  it  accomplished  in  arousing  pageant 
spirit  and  introducing  civic  interest  into  other  float  parades,  and  in  its  own  com 
munity."  6 


1  Op.  tit.,  p.  29. 

2  See  below,  pp.  262  f. 

3  Illus.  Land.  News  for  25  July,  1908,  p.  125. 

4  Described  in  Carrel,  pp.  69  f . 

5  On  the  morning  of  the  23d  —  "  Champlain  Day  "  —  "  once  again  the  hardy  explorer 
sailed  up  the  St.  Lawrence  River,  held  a  palaver  with  the  Indians,  and  anchored  before  the 
rocks  of  Quebec."    (Carrel,  p.  53).    He  came  in  a  model  of  the  Don  de  Dieu,  his  original  ship; 
the  model  was  perforce  made  from  a  French  merchant  ship  temp.  Henri  IV  —  there  being  no 
model  or  picture  of  the  original  Don  de  Dieu  in  existence  (Carrel,  p.  54).    She  sailed  under  her 
own  sails;  and  Champlain  and  his  crew  were,  of  course,  in  the  costume  of  1608.    Indians  in 
their  canoes  escorted  him  ashore  (cf.  the  illustrations  in  Carrel,  pp.  56,  59,  and  109). 

On  the  25th,  the  Prince  attended  the  State  Performance  of  the  "  pageants,"  or  historical 
play;  and  the  Don  de  Dieu  was  stationed  on  the  river  near  Wolfe's  cove,  where  she  was 
plainly  visible  from  the  pageant  grounds  above.  (Carrel,  p.  86.) 

6  American  Pageant  Association,  Bulletin  10,  15  November,  1914.    The  pageant-parade 
of  Philadelphia,  9  October,  1908,  which  was  " historical  in  character,"  "clearly  featuring 
the  history  of  Philadelphia  and  the  development  of  the  community,"  is  listed,  ibid.  It  was 
prepared  for  Founders'  Week  by  Dr.  Ellis  P.  Oberholtzer. 


242  ENGLISH  PAGEANTRY 

THE  HUDSON-FULTON  PAGEANT  AT  NEW  YORK  IN  1909 

A  few  more  modern  instances  of  processional  pageants  —  or  pageantic  pro 
cessions  —  will  suffice  to  show  how  this  form  of  celebration  has  developed.  The 
Hudson-Fulton  parade  1  was  one  feature  of  a  celebration  "  whose  purpose  was 
the  honoring  of  two  world  leaders  of  discovery  and  invention,  who,  in  scatter 
ing  the  darkness  of  an  unknown  land  and  an  unknown  power  have  left  something 
of  profit  for  all  men  of  all  nations  and  of  all  times."  This  purpose  links  the  cele 
bration  to  the  modern  pageant  which  honors  great  men  of  the  past  rather  than 
mayors  of  the  present;  but  the  chief  emphasis  is  not  on  purely  local  history. 

The  military  and  naval  parade  —  another  feature  of  the  festivities  —  was 
made  up  of  the  crews  of  "  a  thousand  ships  doing  the  marine  honors  to  the  resur 
rected  Half -Moon  and  Clermont,"  2  and  expressed  spontaneously  "  the  brother 
hood  of  men  and  the  brotherhood  of  nations."  3  Historical  and  artistic  exhibits, 
"  admitted  to  be  the  largest  and  most  significant  of  their  kind  ever  offered  to 
the  student  "  were  contributed  by  twenty-one  public  and  semi-public  institu 
tions  of  the  city. 

The  two  leading  features  of  the  shore  program  were  the  historical  and  military  pageants. 
The  first  was  probably  the  most  ambitious  assemblage  of  floats  ever  undertaken  in  this  coun 
try,  and  as  an  example  of  decorative  art  and  character  portrayal,  has  never  been  surpassed.4 

1  On  this,  see  Hugh  C.  Weir,  "  The  Hudson-Fulton  Pageant,"  in  The  World  Today,  for  No 
vember,  1909,  pp.  1204  f.    A  collection  of  postcards  illustrating  floats  in  this  parade  may  be 
found  in  the  Harvard  Library.    The  Half-Moon  is  illustrated  in  Davol,  p.  40,  and  part  of  the 
line  of  march,  ibid.,  p.  51.    A  car  is  pictured,  ibid.,  p.  215. 

2  Cf.  above,  p.  240,  and  n.  i. 

3  One  may  suspect  that  this  bit  of  symbolism  is  read  into  the  parade  by  Mr.  Weir.    But 
if  it  made  this  impression  on  the  spectators,  we  see  how  the  modern  pageant  has  educated 
them  to  find  for  themselves  the  symbolism  that  lies  dormant  in  everything. 

The  procession  did  give  a  flavor  of  the  "  international  element  "  of  which  I  have  already 
spoken  in  connection  with  some  of  the  English  pageants.  In  the  New  York  parade,  foreign 
soldiers  and  sailors  were  greeted  with  American  cheers;  for  the  first  time  since  1783,  British 
soldiers  marched  in  the  streets  of  New  York;  German  military  bands  played  American  airs 
to  the  delight  of  the  crowds,  and  much  international  good-feeling  resulted,  no  one  looking 
forward  to  August,  1914. 

The  parade  of  battleships  —  another  feature  of  the  celebration  —  has  been  loosely  called 
a  "  pageant."  Cf.  also  The  World  Today  for  September,  1909,  p.  900,  for  an  illustration  of 
"  England's  great  naval  pageant  on  the  Thames."  Here,  of  course,  the  word  means  simply 
an  "impressive,  or  spectacular,  parade."  The  only  pageantic  features  of  the  New  York 
battleship  parade,  were  the  reproductions  of  the  Half-Moon  and  the  Clermont. 

There  were  "  military  pageants  "  —  or  parades  of  soldiers  —  at  Quebec  in  1908. 

4  I  am  quoting  Mr.  Weir.    The  writer  shows,  it  may  be  remarked,  the  Anglo-Saxon  dis 
position  to  "  understatement,"  which  the  rhetoricians  call  litotes.    This  is  a  characteristic  of 
writers  who  describe  pageants  —  both  ancient  and  modern;   for  they  are  usually  overcome 
with  modesty  in  viewing  the  work  of  their  own  pen  or  the  labors  of  their  fellow  townsmen. 
But  the  enthusiasm  which  pageantry  arouses  in  the  spectator  is  not  one  of  its  least  valuable 
gifts. 


PAGEANTRY  IN  THE  UNITED  STATES  243 

Many  of  the  floats  were  thirty  feet  long  and  forty  feet  high,  the  cost  of  the  parade  mounting 
to  more  than  one  hundred  thousand  dollars.  The  pageant  was  divided  into  four  historical 
groups,  the  first  dealing  with  the  Dutch  period,  and  the  third  with  the  seventeenth-century l 
life  of  the  colonists.  The  fourth  section  was  confined  to  the  first  fifty  years  of  the  past  cen 
tury. 

The  first  float  of  the  line,  termed  "  The  New  York  Title  Car,"  endeavored  to  epitomize 
the  three  hundred  years'  growth  of  the  city  in  picture  form.  The  figure  of  the  Goddess  of 
Liberty  was  shown,  with  a  monster  record-book  open  in  her  lap.  Before  her  were  the  models 
of  an  Indian  canoe  and  a  modern  ocean  greyhound.  At  the  rear  of  her  chair  were  an  Indian 
wigwam  and  a  twentieth-century  sky-scraper. 

In  the  Indian  section  there  were  floats  showing  the  totems  of  the  five  nations:  the  deer, 
snake,  tortoise,  beaver,  and  otter;  cars  devoted  to  the  methods  and  products  of  Indian 
field  cultivation,  others  picturing  the  Indian  seasons  and  dances,  and  one  devoted  to  scenes 
from  "  Hiawatha." 

One  of  the  most  interesting  designs  of  the  Dutch  section  showed  the  purchase  of  Man 
hattan  Island  from  the  Indians.  Another  showed  the  Huguenots  receiving  their  title-deeds. 
A  third  pictured  Bronck's  treaty  with  the  red  men,  while  a  fourth  showed  scenes  on  the  old- 
fashioned  bowling-green.  Other  floats  were  devoted  to  chapters  in  the  life  of  Governor 
Stuyvesant.  The  last  car  in  the  section  pictured  the  old  Holland  legend  of  St.  Nicholas,  with 
one  hundred  and  fifty  Dutch  children  marching  behind,  carrying  toys. 

In  the  colonial  division,  the  subjects  included  "  Old-time  Punishments,"  "  The  Old 
Manor  Hall  in  Yonkers,"  "  The  Trial  of  John  and  Peter  Zenger,"  z  "  Pulling  Down  the  Statue 
of  George  III,"  "  Nathan  Hale,"  "  Washington  Taking  the  Oath  of  Office,"  "  Hamilton's 
Harangue,"  3  "  Washington's  Coach,"  "  Publishing  the  Constitution  of  the  State  of  New 
York,"  and  "  The  Legend  of  Ichabod  Crane." 

In  the  last  division,  devoted  to  latter-day  history,  one  of  the  most  pretentious  floats  was 
termed  "  The  Fire  of  Knowledge,"  showing  a  pedestal  holding  a  caldron  of  blazing  coals, 
while  around  it  were  grouped  the  seals  of  the  thirteen  original  states.  The  final  car  showed  a 
huge  figure  of  Father  Knickerbocker  receiving  the  great  powers  of  the  earth. 

Reference  to  the  Lieder  Collection  of  postcards  illustrating  the  floats  in  this 
pageant,  shows  another  group  which  Mr.  Weir's  article  does  not  mention.  It 
is  introduced  by  a  "  title-car  "  called  "  Carnival  Pageant."  "  This  car,"  reads 
the  description  on  the  reverse  of  the  card,  "  is  an  ornamental  car  ...  It  takes 
the  fantastic  shape  of  a  dragon  spouting  flames,  and  surrounded  by  fire.4  It 


1  Mr.  Weir  means,  I  think,  the  eighteenth  century;    or  perhaps  both  were  combined. 
The  scenes  from  the  seventeenth  century  were  probably  included  under  the  Indian  and  Dutch 
periods. 

2  Mr.  Weir  means  John  Peter  Zenger,  who  "  edited  a  little  paper  called  the  Weekly  Journal, 
in  which  he  freely  criticized  the  arbitrary  acts  of  the  royal  government.    In  1735  he  was  tried 
for  libel,  but  acquitted  in  a  verdict  which  is  commonly  said  to  have  been  the  establishment 
of  the  principle  of  the  free  press."    (Information  printed  on  the  back  of  the  postcard  (no.  26) 
illustrating  this  float;  see  the  Lieder  Collection  in  the  Harvard  Library.) 

3  On  18  July,  1795,  at  a  mass-meeting  to  discuss  the  proposed  Jay  Treaty  with  Great 
Britain. 

4  We  may  compare  —  without  claiming  a  direct  connection  between  them  —  the  dragons 
of  1487  and  1572  (see  above,  vol.  i,  pp.  161  and  205). 


244  ENGLISH  PAGEANTRY 

is  simply  fantastic  in  design,  and  is  meant  to  prophesy  the  unconventional 
character  of  the  floats  which  are  to  follow."1  This  section  suggests  such  pag- 
eantic  revels  as  those  at  St.  Louis  in  1847;  ft  seems  to  be  "  carnivalistic  "  —  if 
we  may  use  the  word  —  with  an  emphasis  rather  on  amusement  than  on  edu 
cation.2  The  chief  emphasis  of  the  whole  pageant,  however,  is  on  local  history; 
and  it  has  the  aim  of  the  modern  "  pageant-play  "  -  to  stir  civic  pride,  and  stim 
ulate  a  desire  for  civic  betterment. 

Like  the  more  recent  Lord  Mayor's  Shows,  this  procession  combines  what  we 
may  call  the  "  Parkerian  spirit  "  with  the  technique  of  the  older  pageantry.  It 
undoubtedly  gave  pleasure  to  the  multitude  which  witnessed  it;  but  it  did 
more  than  that  —  it  awakened  an  interest  in  the  past,  and  an  ambition  for  the 
future.3 


1  Among  these  floats  are  Germania,  "  an  idealization  of  Germany  .  .  .    Germania,  the 
central  figure,  holds  the  Imperial  Crown  in  her  hand.    Beside  her  are  the  eagles,  draped  with 
the  German  colors.    The  nine  figures  represent  the  different  states  which  make  up  United 
Germany";  William  Tell;  Lohengrin;  The  Death  of  Fafner;  Ceres  presiding  over  the  float 
called  "  Harvesting";  Orpheus  before  Pluto;  Father  Rhine;  Arion;  Cinderella;  the  mythi 
cal  Frost  King;  Humor;  the  ^Eolian  Harp  —  which  "  is  an  idealization  of  the  ^Eolian  harp  . . . 
one  of  the  oldest  musical  instruments  .  .  .  The  large  figure  holding  the  harp  represents  out 
door  music."    Other  floats  show  gnomes,  fairies,  Europa;    Egyptian  literature  and  music; 
Tannhauser,  etc.    The  list  includes  foreign  history,  classical  and  Germanic  mythology,  fiction, 
and  symbolism  —  in  such  figures  as  Germania,  Europa,  and  Father  Rhine  —  and  it  empha 
sizes  the  presence  of  foreign  representation  at  the  celebration. 

2  Granting,  as  some  seem  inclined  to  do,  that  the  two  are  antithetical. 

3  Says  Mr.  Weir  in  his  article  already  cited:  "  Behind  the  tinsel  and  the  glitter  of  march 
ing  men  and  waving  flags,  the  Hudson-Fulton  celebration  has  struck  a  deeper  and  a  graver 
note  in  American  civilization  than  the  entertainment  of  the  moment.    We  have  come  to 
accept  much  as  a  matter  of  course  the  announcement  that  our  great  carnivals  and  great  ex 
positions  are  commemorative  of  an  epoch  of  progress  .  .  .  Now  that  the  Hudson-Fulton  pag 
eant  is  an  event  of  the  past,  the  vessels  and  soldiers  have  dispersed,  the  tinsel  and  bunting 
have  been  stored  away,  and  the  spectacle  .  .  .  has  become  a  memory,  are  we  to  view  it  like  a 
great  conflagration  that  has  dwindled  to  a  heap  of  charred  debris  and  dead  ashes  ? 

"  Unless  we  have  shown  the  nation  and  the  citizen  how  better  to  use  that  power  which 
the  river  of  Hudson's  discovery  and  the  steamboat  of  Fulton's  invention  have  given  us,  the 
recalling  of  that  power  and  the  exultation  in  its  might  have  meant  nothing.  Unless  a  quicken 
ing  of  national  pride  shall  come  from  the  blare  and  the  glitter  of  the  marching  regiments  .  .  . 
unless  we  shall  be  spurred  as  a  nation  to  guard  better  and  use  better  the  great  national 
resources  typified  by  such  a  river  as  the  Hudson,  and  the  great  mechanical  inventions 
typified  by  such  a  craft  as  the  steamboat,  the  fortnight  of  New  York's  pomp  will  be  but  a 
mockery. 

"  Has  the  Hudson-Fulton  celebration  left  such  a  lesson  and  such  an  impetus  in  its  wake  ? 
I  think  it  has." 

Time  alone  can  answer  this  question  positively;  the  influence  —  direct  and  indirect  — 
of  such  a  show  can  never  be  measured. 


PAGEANTRY  IN  THE  UNITED  STATES  245 

THE  BOSTON  COLUMBUS  DAY  PARADE  OF  1912 

Although  but  recently  established,  Columbus  Day  may  become,  in  many 
places,  the  occasion  for  an  annually  recurring  pageant.  One  such  parade  at 
Boston  approached  the  spirit  of  the  Lord  Mayor's  Show  more  closely  than 
American  parades  usually  do;  but  he  would  be  rash  who  should  attempt  to 
define  the  debt  that  it  owes  to  the  London  civic  "  triumph." 

The  procession  which,  on  12  October,  1912,  marched  through  the  streets  of 
the  Massachusetts  capital,  took  three  hours  to  pass  a  given  point.  With  the 
exception  of  the  "  town  crier,"  who  led  the  way,  and  shouted  at  intervals,  there 
was  no  speaking.  Preceding  the  rest  of  the  procession  by  some  fifteen  minutes, 
this  "  prelude  "  to  the  parade  passed  over  the  route;  the  crier,  dressed  in  Colonial 
costume,  was  followed  by  twentieth-century  newsboys  "  illustrating  the  modern 
method  of  imparting  information  to  the  public." 

Every  so  often  the  town-crier  stopped,  rang  his  bell,  and  shouted: 

"Hear  ye!  Hear  ye!  Good  People!  The  Grand  Parade  and  Pageant  in 
honor  of  the  great  discoverer  Christopher  Columbus  approacheth.  Give  earnest 
attention  thereto  in  decent  and  peaceable  manner,  and  thereafter  peaceably 
depart  unto  your  homes. 

"  The  Twentieth  Century  newsboys  follow! 

"  God  save  the  Commonwealth  of  Massachusetts!  " 

And  as  he  walked  on,  the  street  became  filled,  with  the  energetic  "  newsies  " 
who  cried  "  Papers!  Extra!  "  with  as  much  enthusiasm  as  if  they  were  really 
trying  to  sell  their  journals. 

After  this  bit  of  symbolism,  the  parade  proper  began.  The  first  division  was 
led  by  a  group  of  real  Indians 2  on  horseback:  then  came  various  detachments 
of  United  States  troops,  State  militia  and  veterans  of  the  Civil  War  —  those 
who  were  too  old  to  march  riding  in  motor-barges.3  Behind  them  came  the  first 
float,  entitled  "  One  Country —  one  Flag."  This  was  followed  by  the  Sons  of 
Veterans,  the  Spanish  War  Veterans,  the  Prince  Heinrich  Veteran  Society,  and 
the  British  Naval  and  Military  Veterans.  With  the  German  and  British  flags 
came  the  first  hint  of  one  of  the  dominant  notes  of  the  parade  —  its  cosmopolitan 
ism;  the  other  note  sounded  was  patriotism;  and  the  "  melting-pot  motif  "  was 
emphasized  by  the  fact  that  beside  every  foreign  ensign  —  and  there  were  many 
—  was  borne  the  American 


1  For  further  details  than  I  give  here,  the  reader  is  referred  to  the  Boston  press  for  12 
October,  1912.    It  is  preferable,  in  looking  up  matters  of  this  kind,  to  take  the  accounts  which 
appear  after  the  event,  rather  than  those  which  recount  the  proposed  program,  not  all  of 
which  materializes. 

2  Cf.  the  Indians  at  St.  Louis  in  1847,  at  New  York  in  1909,  etc. 

3  Cf.  the  veterans  in  the  Lord  Mayor's  Shows  of  1890,  1906,  and  1909. 

4  Incidentally,  this  blending  of  the  two  dominant  notes  of  the  parade  fulfilled  the  require- 


246  ENGLISH  PAGEANTRY 

The  second  division  was  almost  entirely  made  up  of  the  Knights  of  Columbus, 
many  of  whom  were  Irishmen.  An  interesting  group  was  that  wearing  the  uni 
forms  of  soldiers  of  important  periods  in  the  nation's  history —  1776,  1812,  1861, 
1898  and  I9I2.1  The  banners  of  the  various  councils  of  the  Knights  of  Colum 
bus  lent  variety  and  color  to  the  procession;  and  one  could  not  help  feeling  the 
patriotic  fervor  —  here  as  marked  as  anywhere  else  in  the  parade  —  with  which 
the  recent  anarchistic  outrages  in  Lawrence  were  rebuked. 

The  Boston  Equal  Suffrage  Association  furnished  a  float  showing  "  Isabella's 
Part  in  the  Discovery  of  America."  Here  an  historical  interest  was  linked  to 
present-day  politics  by  the  plea  of  equal  rights  for  women  which  accompanied 
it.2  Six  horses  drew  the  pageant-car  representing  "  The  Landing  of  Columbus," 
which  had  been  provided  by  a  large  dry-goods  firm  of  the  city;  and  the  same 
number  of  horses  drew  that  of  the  Dorchester  Historical  Society,  representing 
"  The  First  School  in  America."  Other  floats  in  this  division  were:  "  General 
Washington  Reviews  the  first  Stars  and  Stripes  "; 3  "  Washington  Unfurls  the 
first  Stars  and  Stripes  at  Dorchester  Heights,"  4  and  "  The  Evacuation  of 
Boston."  5 

Great  enthusiasm  was  awakened  in  the  crowd  by  the  passage  of  a  man  on 
stilts.  Towering  above  everything  as  he  strode  down  the  street,  he  reminded 
one  of  the  London  giants.  The  banner  of  the  Order  of  the  Sons  of  St.  George, 
which  depicted  that  saint  slaying  the  dragon,  added  another  reminiscence  of  the 
pageantry  we  have  already  studied,  but  it  is  probable  that  there  is  no  direct 
connection  between  these  things  and  the  older  English  shows. 

Children  dressed  in  red,  white,  and  blue,  waving  American  flags,  passed  by 
in  three  motor-barges.  These  representatives  of  the  Mission  Church  evoked  a 
patriotic  response  from  the  crowd,  in  whose  minds  an  anarchistic  outbreak  at 
Lawrence  was  still  fresh.  Indeed,  much  of  the  enthusiasm  at  the  parade  was 
undoubtedly  due  to  this  memory;  but  it  was  none  the  less  stirring  or  impressive 
on  this  account. 


merits  of  the  law.    No  foreign  flag  can  be  carried  by  a  procession  without  an  American  flag 
beside  it. 

1  Cf.  the  Cape  Volunteers  of  1853  in  the  Lord  Mayor's  Show  of  1895;  and  the  historical 
naval  exhibition  in  that  of  1902.    Past  uniforms  of  the  British  Army  and  Navy  were  shown 
in  the  Lord  Mayor's  Show  of  1911,  together  with  various  great  generals  and  admirals. 

2  Many  of  the  crowd  appreciated  the  unconscious  humor  of  the  band  which  preceded  this 
float,  in  playing  a  popular  song  entitled  "  You  Great,  Big,  Beautiful,  Doll  "  as  they  marched 
before  the  City  Hall. 

3  Provided  by  the  Betsy  Ross  Club,  Civic  Service  House. 

4  Furnished  by  a  large  mercantile  firm  of  the  city;  it  was  an  "  autofloat,"  (motor-pageant) 
and  carried  the  thirteen  original  States,  represented  by  girls  in  Colonial  costume. 

5  This  was  also  an  "  autofloat,"  and  was  furnished  by  the  Citizens'  Association  of  South 
Boston. 


PAGEANTRY  IN  THE  UNITED  STATES  247 

The  third  division  closed  with  a  float  showing  a  "  Children's  Playground," 
contributed  by  the  Park  Department  of  the  city.  "  Ancient  and  Modern  Count 
ing  House  "  -  the  float  of  the  Library  Bureau  —  was  little  more  than  a  trade- 
pageant. 

Italians  made  up  the  fourth  division  of  the  parade;  many  secular  and  re 
ligious  societies  took  part  —  some  of  them  in  the  costume  of  Garibaldi's  soldiers. 
A  humorous  illustration  of  contemporary  European  history  was  furnished  by  a 
Turkish  prisoner  who  was  led  firmly  by  two  uniformed  Italians;  his  sheepish 
smile  si  ggested  that  he  did  not  find  captivity  irksome.  Among  the  floats  in  this 
division  was  one  provided  by  the  New  England  Telephone  Company  in  honor 
of  the  two  discoverers,  Columbus  and  Bell;  the  telephone  poles,  instruments 
and  switchboard  emphasized  the  fact  that  history  was  linked  to  trade.  Another 
float,  furnished  by  the  Italian  societies  of  the  North  End,  represented  "  Marconi 
and  the  Wireless  Telegraph  "  linking  together  the  nations  of  the  earth,  which 
were  represented  by  their  coats-of-arms  around  the  car. 

The  fifth  division  was  truly  cosmopolitan.  The  "  feature,"  or  chariot  which 
opened  it,  was  called  "  The  World's  Contribution  to  Boston."  A  few  Indians 
were  followed  by  Italians,  Germans,  and  the  Swedish  Singing  Society;  then 
came  the  Armenians,  with  a  float  entitled  "  Armenian  Rug-Making."  Russians 
and  Syrians  followed;  then  came  members  of  the  "  newest  republic,"  with  their 
new  flag.  "  Old  China  and  New  "  was  succeeded  by  three  gorgeous  floats:  the 
first  was  a  Chinese  Garden ;  the  second  contained  a  Chinese  band ;  and  the  third 
was  filled  with  Chinese  women  and  children  in  the  elaborate  costumes  of  their 
land.  The  Scotch,  in  picturesque  Highland  dress,  followed  the  Lithuanians, 
and  preceded  their  floats  which  contained  Scotch  dancers,  and  a  representa 
tive  from  many  clans,  in  plaid  and  bonnet.  The  Charitable  Irish  Society  fur 
nished  a  jaunting-car,  in  which  was  Uncle  Sam  with  his  own  children  and  those 
whom  he  had  adopted.  The  Canadian  representatives,  the  Finnish  societies,  a 
barge  containing  the  Germania  Singing  Society;  "Greek  Janissaries"  and  Polish 
Societies  brought  up  the  rear. 

The  work  against  the  "  white  plague  "  was  shown  by  a  float  which  the  Con 
sumptives'  Home  exhibited;  "  Pere  Marquette  and  the  Indians,"  was  the  subject 
of  the  Young  Men's  Catholic  Association  float;  the  modern  fire  apparatus  — 
including  a  motor  fire-engine  —  preceded  the  old  "  hand- tub  "  dragged  by  mem 
bers  of  the  Firemen's  Veteran  Association  of  Charlestown; 1  floats  representing 
the  ringing  of  an  alarm,  and  "  A  Fire  Breeder  " z  had  their  educational  value; 
a  gigantic  cigar-box  on  a  motor  truck  advertised  a  local  tobacco  house;  and 


1  Cf.  the  fire-engines  in  the  Lord  Mayor's  Shows  of  1889,  1890,  1891,  etc.,  — also  the  fire 
brigades  at  St.  Louis  in  1847.     Cf.  especially,  p.  127,  above. 

2  This  showed  a  mass  of  inflammable  waste  material  piled  high;  and  beneath  it  a  placard 
—  "  Does  your  cellar  look  like  this  ?  " 


248  ENGLISH  PAGEANTRY 

from  another  trade-pageant,  provided  by  a  well-known  firm  of  bakers,  loaves  of 
bread  were  tossed  to  the  crowd.1  Various  "  public  work  "  wagons,  representing 
the  departments  of  the  city,  brought  the  parade  to  a  close. 

I  have  not  enumerated  every  float  in  this  parade,  but  I  have  given  enough 
to  show  the  complexity  of  the  pageant.  Its  primary  aim  was,  like  that  of  the 
older  triumphs,  to  entertain;  it  was  planned  with  the  help  of  the  director  of 
public  celebrations,2  and  was  witnessed  by  a  holiday  crowd.  Although  Colum 
bus  had  no  direct  connection  with  Boston,  the  occasion  was  made  not  only  an 
opportunity  to  recall  his  courage  and  our  debt  to  him,  but  also  —  as  in  the 
Hudson-Fulton  pageant  —  an  opportunity  to  represent  some  scenes  from  the 
history  of  the  city.  There  were  lessons  taught  by  the  parade  —  and  not  the 
least  forcible  appeal  was  that  which  awakened  patriotism.  Few  could  fail  to 
be  impressed  by  the  sight  of  so  many  races  marching  under  one  flag.  Lessons 
that  we  learn  unconsciously  are  apt  to  linger  the  longest;  so  the  impression 
made  on  a  crowd  which  does  not  realize  it  was  being  edified  will  probably  bear 
more  fruit  than  that  caused  by  a  loud  trumpeting  of  some  educational  aim. 
Here  was  history,  which  did  not  merely  evoke  past  glories;  trade-symbolism 
there  was,  too;  and  bands  and  soldiers  and  thousands  of  marching  civilians. 
In  such  a  parade  as  this  we  see  the  "  melting-pot  "  itself,  in  which  a  new  nation 
is  being  formed  from  the  people  that  come  to  us  from  over-sea.  Such  a  pageant 
furnishes  a  "  snap-shot  "  of  the  process,  as  it  were:  and  having  seen  it,  we  turn 
away  not  merely  entertained,  not  educated  solely  —  but  inspired.  Though  the 
material  here  is  largely  old,  the  spirit  is  that  of  the  newer  pageantry;  and  the 
procession  itself  symbolizes  America  —  e  pluribus  unum. 

THE  NOKRISTOWN  PAGEANT  or  1912 

More  closely  related  to  such  processions  as  those  of  St.  Louis  in  1847,  and 
of  Philadelphia  in  1882,  is  the  Historical  Pageant  of  Norristown  (Pennsylvania) 
held  to  celebrate  the  centennial  of  the  borough.3  The  celebration  began  on 
Sunday,  5  May,  1912,  with  special  services  in  all  the  churches;  on  the  Monday 
was  a  "  public  school  pageant,  with  the  thousands  of  children  in  costumes  varied 
and  historic  .  .  .  Civic  Day  was  observed  on  Tuesday,  Industrial  on  Wednesday, 
and  Firemen's  on  Thursday.  This  last  was  the  largest  parade  of  the  week's 
celebration,  which  closed  with  Military  Day.  Friday,  the  most  beautiful  day 
of  all  so  far  as  the  weather  was  concerned,  was  Historical  Day  . . .  The  Historical 


1  Cf.  various  seventeenth-century  Lord  Mayor's  Shows  —  e.  g.,  those  of  1616, 1672,  1692, 
—  and  the  printers  at  St.  Louis  in  1847. 

2  I  was  unaware  that  such  an  officer  existed  in  Boston,  until  I  read  of  him  in  this  connection; 
see  the  afternoon  edition  of  the  Boston  Traveler-Herald  for  12  October,  1912,  p.  2,  col.  8. 

3  This  is  fully  described  in  an  illustrated  volume  by  the  Rev.  Theodore  Heysham,  Ph.D., 
(Norristown,  1913)  which  is  my  authority  for  the  following  remarks. 


PAGEANTRY  IN  THE  UNITED  STATES  249 

Pageant  was  the  feature  of  the  afternoon.  It  was  then  that  Norristown  saw 
herself  for  the  first  time  in  pageantry  ..." 

This  historical  procession  was  divided  into  five  parts,  consisting  of  thirty- 
two  "  scenes  ";  Early  Inhabitants  and  Settlers  showed  Indians,2  Dutch,  Swedish, 
Welsh,  and  English  Quakers,3  German,  Scotch  and  Irish  settlers.  Colonial 
Norristown  opened  with  a  float  reproducing  an  old  Log  Cabin; 4  a  float  called 
"  Indian  Trail  "  was  followed  by  "  Trappers  and  Traders,"  and  a  living-picture 
represented  the  Norris  and  Trent  Purchase,  1 704. 5  Then  came  a  float  or  pageant- 
car,  showing  "  The  Public  Sale  of  Norriton  Plantation,  1771."  Other  historical 
scenes  were  represented  on  floats  furnished  for  the  most  part  by  local  business 
houses ; 6  many  of  these  pageants  are  illustrated  in  Dr.  Heysham's  book. 

The  third  part  dealt  with  the  Revolution,  and  showed  Continental  and  British 
soldiers,  the  French  Allies,  "  The  Spirit  of  '76,"  and  a  float  with  Betsy  Ross.7 
Among  the  historical  figures  were  Washington,  General  Clinton,  and  General 
Peter  Muhlenberg.  The  fourth  part  showed  Norristown  after  1812;  and  in 
cluded  such  floats  as  "  Governor  Snyder  signing  the  charter,"  which  made 
Norristown  a  borough  on  31  March,  1812; 8  a  float  appealing  for  women  suf 
frage,  models  of  the  Old  Academy  and  various  churches;  the  "  old  Pat  Lyon  " 
fire-engine  —  built  in  1812  —  the  first  fire-engine  owned  by  the  town;  "  Old 
Ironsides,"  the  first  engine  built  by  the  founder  of  the  Baldwin  Locomotive 


1  Heysham,  p.  n.    He  continues:    "Pageantry  is  unintentionally  presumptuous,  con 
sciously  spectacular,  always  dramatic.    It  deals  with  history  as  though  it  were  something  that 
could  be  handed  out  in  chunks.    It  asks  society  to  line  up  in  a  sort  of  historical '  bread  line  ' 
that  it  may  satisfy  its  hunger  for  reality  as  the  historical  fragments  are  passed  along  the  line. 

"  Pageantry,  however,  is  not  to  be  criticized  because  of  its  presumption  nor  yet  because 
of  its  spectacular  and  dramatic  characteristics.  It  must  of  necessity  repeat  the  methods  of 
the  kindergarten  and  the  stage.  The  purpose  of  the  pageant,  as  of  the  kindergarten  and  the 
stage,  is  the  same  —  to  please  and  to  instruct.  In  the  pageant  the  living  must  impersonate 
the  dead  and  the  dead  must  appear  to  live  again." 

We  shall  return  to  a  definition  of  pageantry  later  (see  below,  p.  291) ;  one  may  be  per 
mitted  to  question  how  dramatic  a  street-procession,  even  if  pageantic,  is  —  in  the  ordinary 
sense  of  the  word  dramatic. 

2  "  Impersonated  and  equipped  by  the  Beaver,  the  Tecumseh,  and  the  Minne  Kaunee 
Tribes  of  Red  Men." 

3  "  A  model  of  the  old  Plymouth  meeting  house,  contributed  by  members  of  the  Friends' 
Meeting  of  Norristown,  appeared  in  the  pageant.    This  model  is  now  preserved  at  Plymouth 
Meeting  House."    A  model  of  Old  Norriton  Church  was  also  carried  in  the  pageant. 

4  Illustrated  in  Heysham,  opp.  p.  23,  as  is  the  Trapper's  Hut.    Cf.  "  Raising  the  first 
Meeting  House  "  —  a  float  in  a  night  pageant  at  Cadillac,  (Michigan)  —  illustrated,  Davol, 

P-54- 

5  Illustrated,  in  Heysham,  opp.  p.  25. 

6  Churches,  schools,  business  men  and  their  employees  took  part  in  the  different  living 
pictures;  men  of  the  National  Guard  marched  as  Revolutionary  soldiers. 

7  These  are  illustrated,  op.  tit.,  opp.  p.  37. 

8  Illustrated,  ibid.,  opp.  p.  41. 


250  ENGLISH  PAGEANTRY 

Works,  which  was  also  the  first  to  run  from  Philadelphia  into  Norristown  (15 
August,  I835).1  The  Sons  of  Veterans  appeared  in  a  scene  entitled  "  Mexican 
War." 

Rebellion  and  Later  was  the  title  of  the  fifth  part,  which  began  with  "  Re 
sponding  to  the  call  of  '  Father  Abraham/  1861-64, "and  "  Departure  of  the 
Troops."  A  float  representing  "  Abolition  "  followed; 2  then  came  veterans  of 
the  Civil  War,  and  a  scene  representing  the  Spanish- American  War  of  1898. 
The  final  float 3  corresponded  to  the  symbolical  end  of  many  a  community  drama ; 
it  was  called  "  The  Holy  City  "  and  "  represented  the  three  great  ideals  of  hu 
man  society  and  modern  civilization  —  religious  peace,  industrial  peace,  and 
national  peace.  The  three  virtues,  faith,  hope,  and  charity,  or  love,  are  sym 
bolized  by  the  three  ladies  clad  in  Grecian  costumes  on  the  throne.  The  chil 
dren  point  the  way  to  the  representatives  of  Religion — a  Jewish  High  Priest, 
a  Roman  Catholic  Cardinal,  and  a  Protestant  clergyman.  Their  prayer  is  '  that 
all  may  be  one.'  Just  beyond  are  symbolized  Capital  and  Labor;  Peace  and 
War,  with  the  goddess  of  peace  presenting  the  symbol  of  peace,  the  olive  wreath. 
It  is  the  prophecy  of  the  future  as  it  was  the  song  of  the  angels  .  .  ." 4 

This  pageant  is  noteworthy  as  an  example  of  those  which  combine  the  tech 
nique  of  the  older  triumph  with  the  spirit  of  the  new  —  which  centre  around 
the  history  of  the  community.  It  is  to  be  observed  that  there  is  no  suggestion 
of  the  carnival ;  that  the  only  touch  of  allegory  or  symbolism  is  in  the  final  car. 
All  elements  of  the  town  cooperated,  making  this  a  pageant  given  by  the  com 
munity;  it  dealt  entirely  with  local  history,  and  was,  therefore,  a  pageant  of  the 
community;  it  took  place  on  the  streets,  and  was  distinctly  a  pageant  for  the 
community;  but  the  technique  is  that  of  the  Lord  Mayor's  Show.  What  drama 
may  be  found  in  the  representation  of  the  past,  was  here  in  living-pictures;  but 
the  procession  was  an  expository  setting-forth  of  history  rather  than  a  dramatic 
performance  in  the  true  sense  of  the  word. 

Sports  and  the  raw-material  of  pageantry  were  combined  at  Little  Compton, 
Rhode  Island,  in  1914,  as  described  in  a  pamphlet  preserved  in  the  Harvard 
Library.6  The  important  element  of  community-effort  makes  this  worth  noting, 
although  the  central  idea  which  gives  artistic  unity  to  a  pageantic  show,  was  not 
emphasized.  Each  section  of  the  township  furnished  a  group  —  "  any  sort  of 
group  that  should  bring  to  the  parade  grounds  a  brilliant  bit  of  color."  6  The 
parade  included  floats,  some  of  which  were  appropriate  —  e.  g.  the  first  group, 
representing  "  The  Sea,"  which  included  Neptune,  the  Spirit  of  the  Sea,  with 
eight  little  girls  to  personate  the  waves:  a  whale-boat  on  wheels,  "  manned  by 
stout  urchins  in  oilers,  hauling  in  seines  .  .  . 


1  The  engine  is  pictured,  ibid.,  opp.  p.  49.  3  Illustrated,  ibid.,  opp.  p.  55. 

2  Illustrated,  ibid.,  opp.  p.  53.  4  Op.  cit.,  p.  55. 
6  Georgiana  B.  Withington,  A  Children's  Parade  (1915). 

8  A  Children's  Parade,  p.  4. 


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PAGEANTRY  IN  THE  UNITED  STATES  251 

"  In  sharp  contrast  to  these  '  Toilers  of  the  Sea/  were  the  '  Playfellows  of  the 
Sea,'  on  the  next  float .  .  .  This  group  ended  with  a  Marconi  apparatus  .  .  .  and 
[was]  called  the  peaceful '  Conqueror  of  the  Sea.' 

"  With  war-whoop  and  prancing  came  the  next  group.  Chief  Assowan  and 
Queen  Sachem  Awashonks,  with  their  Braves,  their  Squaws,  and  their  wig-warn 
bearers  .  .  ."  *  These  had  an  historical  connection  with  the  town:  but  the  Early 
Settlers  (one  of  whom  wore  the  wedding  suit  of  his  great-grandfather)  were  un 
named;  types,  rather  than  individuals.  The  Mother  Goose  characters,  the  Rain 
bow,  with  a  Pot  of  Gold,  Captain  Kidd,  a  Circus  Group,  and  other  like  figures, 
suggested  the  carnival:  Uncle  Sam,  Columbia,  a  reproduction  of  "  The  Spirit 
of  '76  "  and  "  the  tiny  '  Angel  of  Peace/  who  took  the  prize  in  the  baby-carriage 
group,"  furnished  the  patriotic  and  allegorical  figures  necessary  for  all  good 
pageants.  Another  parade  was  held  the  next  year,  and  the  occasion  was  appar 
ently  to  become  an  annual  celebration  when  interrupted  first  by  epidemics,  and 
then  by  the  war.  Possibly  with  the  advent  of  peace,  the  parade  will  revive 
—  perhaps  with  a  unity  of  plan  which  will  bring  it  indubitably  into  the  field  of 
pageantry. 

After  all,  it  was  the  aim,  rather  than  the  technique,  of  this  parade,  which  was 
important.  "  It  was  pretty,  later,  to  see  these  classic  figures  dancing  on  the  green, 
outlined  against  the  setting  sun,  but  fairer  was  it  by  far  to  see  the  sweet  courtesy 
of  the  descendants  of  the  Pilgrims,  towards  the  children  of  the  recent  immigrants, 
who  were  mingled  in  this  pretty  group. 

"  The  wonderful  afternoon  lights,  and  long  shadows  on  the  beautiful  upland 
meadow,  the  shaded  village  street,  the  gay  groups  and  happy  faces,  the  prancing 
horses  and  mild  oxen,  the  sweet  music  and  merry  laughter,  what  a  memory- 
picture  it  is ! 

"  More  lasting,  even,  than  this  attractive  picture  will  be  the  remembrance  of 
the  spirit  of  helpfulness  and  neighborly  kindness,  which  pervaded  the  town  dur 
ing  the  weeks  of  preparation  .  .  ."  !  Summer  cottagers  and  the  all-year-round 
inhabitants,  prominent  citizens  and  recently-arrived  immigrants,  all  took  part; 
and  the  occasion  did  much  to  bring  the  community,  as  a  whole,  together. 

A  WAR-TIME  FOURTH  IN  NEW  YORK 

That  the  war  did  not  dampen  pageantic  enthusiasm  in  New  York  City,  is 
shown  by  the  following  item  from  the  Paris  edition  of  the  London  Daily  Mail, 
of  10  July,  1918,  published  under  the  heading:  JULY  4  PAGEANT  WINNERS. 
First  Prize  Won  by  Poles: 

New  York,  Monday.  The  gold  medal  for  the  most  artistic  floats  [tableaux]  and  the  best 
arranged  pageant  in  New  York's  Fourth  of  July  parade  has  been  awarded  to  the  Poles.  The 
silver  medal  goes  to  Syria,  and  the  bronze  medal  to  Portugal.  The  committee  selected  for 


A  Children's  Parade,  p.  6  f.  2  Ibid.,  p.  9. 


252  ENGLISH  PAGEANTRY 

special  praise  the  Navy  float  entitled  "  Help  your  country."    This  represented  a  shipload  of 
survivors  pulling  away  from  a  submarined  liner. 

Diplomas  of  merit  were  awarded  to  Chinese,  French,  British,  Italian,  and  Swiss  represen 
tations,  and  honorable-mention  diplomas  to  Czecho-Slovaks,  Greeks,  Americans  of  Hun 
garian  origin,  Japanese,  Norwegians,  Russians,  Spanish,  and  Ukrainians. 

This  shows  not  only  the  value  of  pageantry  for  propaganda,  but  also  that 
the  "  melting-pot  motif "  of  such  parades  as  the  Columbus  Day  pageant  at 
Boston  in  1912  is  bearing  fruit.  There  must  have  been  some  central  idea  under 
lying  the  New  York  pageant  of  1918;  varied  as  the  contributions  seem  to  have 
been,  the  show  was  not,  evidently,  a  revel —  like  the  "  grotesque  "  section  of 
the  St.  Louis  procession  of  1847,  or  tne  "  carnival  pageant  "  in  connection  with 
the  Hudson-Fulton  celebration  of  1909. 

A  WORD  ON  "  PAGEANTIC  REVELS  "  IN  AMERICA 

Turning  to  examples  of  pageantic  processions  which  suggest  rather  revels 
than  true  pageantry,  let  us  mention  very  briefly  a  few.  The  circus-parade, 
usually  a  glittering  show  which  includes  moving  wagons,  lies  outside  our  field 
because  it  does  not  soften  a  commercial  appeal  with  even  a  semblance  of  allegory 
or  symbolism.  "  The  Quaker  City's  Curious  Carnival  —  New  Year's  Eve  Pa 
rade  in  Philadelphia ;  one  of  the  oddest  and  most  brilliant  pageants  in  the  United 
States," l  and  the  Mardi  Gras  celebrations  at  New  Orleans  and  elsewhere,  illus 
trate  the  processions  with  cars  and  disguising  that  seek  only  to  entertain.  Body 
and  soul  of  pageantry  are  both  here  —  but  there  is  apt  to  be  little  coherence  in 
the  show,  the  unifying  spirit  of  which  is  not  —  as  in  the  London  Lord  Mayor's 
Shows,  and  such  as  we  have  been  examining  in  this  chapter —  a  civic  occasion; 
rather  an  annually  recurring  holiday  to  which  little  deeper  meaning  is  given.  A 
May-day  procession  with  floats,  which  bids  fair  to  become  an  annual  show,  was 
started  at  Indianapolis  in  1914;  in  Canada,  various  towns  celebrate  the  24  May 
(the  Queen's  Birthday)  or  i  July  ("  Dominion  Day  ")  with  "  callithumpian  " 
processions,2  which  are  parades  of  "  horribles  "  with  a  trade-element  added.3  In 
many  Canadian  towns,  the  Orangemen  celebrate  the  12  July  with  a  procession 
which  includes  the  pageantic  figure  of  William  III  —  usually  mounted  on  a  white 
horse.  Historical  accuracy  of  costumes,  however,  plays  no  part  in  these  shows, 
which  seem  to  be  rather  popular  celebrations  of  an  historic  date  than  more  de- 


1  Illustrated  in  Leslie's  Weekly  for  18  January,  1912,  p.  69. 

2  The  word  is  derived  from  a  humorous  combination  of  KdXXos  and  thump  (cf .  the  Webster 
and  Century  Dictionaries).    Mr.  J.  M.  Kerrigan,  of  Dublin,  tells  me  that  there  is  a  club  in 
that  city  called  the  "  Noble  Order  of  the  Callithumpians,"  which  does  not,  however,  give 
processions. 

3  At  Woodstock,  Ontario,  they  occur  on  24  May,  and  have  been  in  existence  about  fifty 
years;  in  several  small  Nova  Scotian  towns  they  occur  on  i  July.    I  am  indebted  to  various 
Canadian  graduate-students  at  Harvard  for  this  information. 


PAGEANTRY  IN  THE  UNITED  STATES  253 

veloped  pageants,  such  as  the  pageantic  processions  with  which  Springfield 
(Massachusetts)  and  other  towns  have,  of  late  years,  been  celebrating  Inde 
pendence  Day. 

THE  "  VEILED  PROPHET  "  AT  ST.  Louis 

As  an  example  of  the  pageantic  revelry  which  is  so  common  in  this  country, 
as  well  as  abroad,  let  us  consider  the  processions  which  precede  the  St.  Louis 
"  Veiled  Prophet  "  balls.1  Since  the  autumn  of  1878,  "  the  Veiled  Prophet  and 
his  faithful  followers  have  appeared  on  the  streets  of  St.  Louis  in  a  pageant  of 
magnificence  and  splendor,  '  casting  sunshine  and  flowers  '  to  the  multitude." 
In  1878,  the  "  Festival  of  Ceres  "  was  given,  showing  seventeen  floats; 2  twenty- 
two  floats  illustrated  "  The  Progress  of  Civilization  "  in  1879; 3  the  same  num 
ber  "  The  Four  Seasons  "  in  1880.  In  1886,  "  Scenes  from  American  History  " 
were  exhibited,4  and  in  1887,  twenty- two  floats  showing  "  The  History  of  the 
Bible."  "  Children's  Lore,"  in  1888,  contained  various  floats  which  we  have 
seen  at  Knutsford,  Lichfield  and  elsewhere.6  In  1892,  twenty-two  floats  gave 
the  "  History  of  Louisiana  Territory  "  6  and  in  1897,  "  Old  Time  Songs  "  were 

1  For  more  details  than  I  shall  give  here,  see  Frank  Gaiennie's  article  in   the  Encyclo 
paedia  of  the  History  of  St.  Louis  by  William  Hyde  and  Howard  L.  Conrad  (New  York,  Louis 
ville,  and  St.  Louis,  1899),  pp.  2370  f .    I  am  indebted  to  Mr.  Charles  A.  Cox  of  St.  Louis  for 
a  typewritten  copy  of  the  article,  the  original  of  which  I  have  not  seen.    "  The  organization 
has  gone  on  in  the  same  manner  since  1897,"  wrote  Mr  Cox  in  1913. 

2  Enumerated  by  Mr.  Gaiennie  as  follows:   i,  Glacial  Period  of  Winter;   2,  Chariot  of  the 
Sun;  3,  Primitive  Animals;  4,  Fiends  of  Darkness;  5,  The  Centaur;  6,  Flora;  7,  Proserpine 
and  Pluto;   8,  Golden  Globe;   9,  Demeter;    10,  Triptolemus;    n,  Plowing;    12,  Fruits;   13, 
Bacchus;   14,  Industry;   15,  Wealth;   16,  "  The  Veiled  Prophet,"  and  17,  Silenus. 

3  Various  trades  and  industries  were  symbolized. 

4  The  twenty-one  floats  showed  more  coherence  than  is  usual  in  a  pageantic  revel;   but 
the  history  was  not  confined  to  St.  Louis.    Symbolism  was  there,  in  '•'  America,"  "  Missouri," 
and  "  King  Cotton  ";   among  the  other  floats  were:   the  Discovery  of  the  Northmen;   the 
Landing  of  Columbus;   Columbus  received  by  Ferdinand  and  Isabella;   Ponce  de  Leon  and 
the  Fountain  of  Youth;   Meeting  of  Cortez  and  Montezuma;   King  Nezahualcoyotl  at  Tez- 
coco;  de  So  to  discovering  the  Mississippi;  Pocahontas  and  John  Smith;  Hendrik  Hudson; 
Burning  of  the  Dutch  Village;  Landing  of  the  Pilgrims;  Washington  Crossing  the  Delaware; 
The  Heroes  of '76;   Daniel  Boone;  Hunting  the  Buffalo;  Statue  of  General  Jackson;  West 
ward  Ho!   and  the  invariable  "  Veiled  Prophet." 

5  Little  Red  Riding  Hood;   Bluebeard;   Aladdin  in  the  Cave;   Humpty-Dumpty's  Mis 
fortune;  various  floats  showing  scenes  from  Alice  in  Wonderland;   Uncle  Remus's  Tar  Baby 
Story;   Santa  Claus  on  the  Roof  Tops;   Mother  Goose;  Old  King  Cole,  and  Cinderella  were 
among  the  floats  that  year.    Cf.  the  pictures  of  the  "  Mother  Goose  "  pageant  at  Greensboro 
(North  Carolina)  in  Davol,  p.  57. 

6  Some  of  the  floats  were:   America;   Europe;   Asia;   Africa;   Mexico;   South  America; 
Oceania;  Missouri;  Veiled  Prophet;  Father  of  Waters;  Death  of  deSoto;  Arrival  of  Pontiac; 
Reception  of  Pere  Marquette  and  Joliet;   LaSalle  taking  possession  of  Louisiana  Territory; 
Founding  of  the  city  of  St.  Louis;   Visit  of  Lafayette  to  St.  Louis;   Native  Missourian  in 
augurated  President  of  the  United  States. 


254  ENGLISH  PAGEANTRY 

illustrated  with  the  same  number  of  cars.  There  is  no  need  to  go  into  detail 
here  of  the  shows  which  run  in  unbroken  sequence  from  1878  to  1897,*  nor  need 
we  discuss  here  the  masked  ball  which  follows  them. 

In  spite  of  the  allegory,  symbolism,  and  even  history  which  can  be  found  in 
these  processions,  they  lie  on  the  outskirts  of  pageantry,  because  they  have  no 
connection  with  the  town,  and  are  given  by  a  social  organization.  Insofar  as 
the  subject  of  the  triumphs  approaches  local  history,  they  tend  towards  pag 
eantry  in  its  higher  forms;  the  fact  that  the  shows  are  not  given  by  the  com 
munity  as  a  whole  puts  a  barrier  between  this  and  a  pageant  like  that  of  Norris- 
town.  The  tendency  toward  the  carnival  is  shown  by  the  fact  that  a  Queen  is 
chosen  at  the  masked  ball  which  follows  the  parades.2 

A  "  CARNIVAL  "  AT  REVERE  IN  SEPTEMBER,  1912 

To  illustrate  the  formless  "  raw  material  "  of  pageantry,  I  may  allude  to  a 
"  carnival  "  which  took  place  at  Revere  (Massachusetts)  early  in  September, 
191 2.3  This  apparently  had  a  trade-origin.  "  Ten  artistic  floats  will  be  features 
of  the  grand  carnival  parade,  or  pageant,  to  take  place  each  night  during  the 
Mardi  Gras  celebration  at  Revere  Beach  from  Tuesday  to  Saturday  of  next 
week.  The  royal  float  will  convey  the  King  and  Queen  of  the  carnival.  A  dif 
ferent  royal  couple  will  be  picked  for  each  night.  Other  floats  will  represent 
Fame,  Beauty  and  the  Beast,  the  Flying  Dutchman,  the  Man  in  the  Moon, 
Robinson  Crusoe,  the  Martians,  Slumberland,  the  Sun  Princess,  and  Revere 
Beach."  4 

PAGEANTRY  "  WITH  A  PURPOSE  " 

Another  development  of  pageantic  material  in  processions  deserves  a  word. 
Just  as  the  pageant-play  has  been  turned  to  political  uses — as  in  Disinherited —  ? 5 
-  so  the  pageantic  procession  occasionally  takes  unto  itself  a  political  com 
plexion.    Allegory,  or  symbolism,  was  used  by  the  Socialists  of  Boston  during 
the  campaign  of  1912,  when  a  figure,  richly  dressed  in  silk  hat  and  furs,  repre- 


1  And,  as  far  as  I  know,  to  the  present  day. 

2  Since  1800,  tableaux  have  been  a  feature  of  several  balls. 

3  I  cite  a  paragraph  from  the  Boston  Herald  of  30  August,  1912 ;  the  heading  reads:  "  Ten 
Floats  to  Appear  in  Revere  Carnival  —  Different  King  and  Queen  for  each  Night  of  F$te." 
On  carnivals,  see  the  Theatre  Magazine  for  February,  1911,  p.  43. 

4  It  is  worth  calling  attention  to  the  phenomenon  which  permits  the  use  of  Mardi  Gras 
in  the  paragraph  quoted  above.    The  phrase  is  hardly  appropriate  for  a  parade  that  is  to  be 
repeated  five  nights  of  the  first  week  in  September;    but  it  shows  the  influence  which  is  be 
hind  such  an  entertainment. 

6  See  above,  p.  230  f.  (The  "  Pope-burnings,"  both  in  England  and  America,  may  be  con 
sidered  political  pageantry  of  a  kind,  as  are  the  Orange  processions.)  This  is  not  far  removed 
from  propaganda. 


PAGEANTRY  IN  THE  UNITED  STATES  255 

senting  Capital,  was  drawn  through  the  streets  by  the  Elephant,  Donkey,  and 
Bull-Moose  —  emblems  of  the  Republican,  Democratic,  and  Progressive  parties. 
The  implied  political  doctrine  was  emphasized  by  the  transparencies  of  the  torch 
light  parade  which  followed.  In  the  woman-suffrage  procession  at  New  York 
on  9  November,  191 2, l  there  were  chariots  and  floats  representing  the  States 
where  women  vote;  "  Our  Plank  "  -  a  float  intended  to  convey  the  idea  that 
the  vote  is  for  the  benefit  of  all  sorts  and  conditions  of  women  —  contained 
woman-physician,  college-girl,  trained-nurse,  tenement-house  mother  and  "  rich 
butterfly,"  each  in  appropriate  costume.  Another  float  showed  "  China,  the 
land  where  women  vote  ";  it  contained  twenty-five  women  in  Chinese  costume, 
with  lanterns.  Men  helmeted,  dressed  in  silver  armor  and  carrying  shields  em 
blazoned  with  the  name  of  the  State  each  represented,  walked  by  the  horses' 
heads;  and  many  thousand  people,  some  of  them  in  costume,  accompanied  the 
procession.2 

A  "  pageant-procession,"  followed  by  an  "  allegory,"  made  up  the  suffragette 
"  show  "  in  Washington  on  3  March,  1913. 3  The  following  year,  "  the  greatest 
suffrage  demonstration  that  Washington  has  ever  seen  filled  Pennsylvania 
avenue  and  other  streets  leading  from  Lafayette  Park  to  the  Capitol,  where  an 
army  of  women  and  girls  besieged  Congress  .  .  .  Every  State  of  the  Union  was 
represented  in  the  parade.  The  petition  brigade  numbered  531,  and  marching 
with  them  were  a  hundred  girls  with  garlands,  a  chorus  of  a  thousand,  ten  bands, 
divisions  of  suffrage  cavalry,  and  girl  heralds,  besides  the  rank  and  file  of  the 
women's  suffrage  organisations  and  a  delegation  from  Pennsylvania  of  the  Men's 
League  for  the  Suffrage,  swelling  the  total  to  about  five  thousand  .  .  . 

"  Then  came  colour-bearers  and  behind  them  a  Pageant  of  Spring  with  its 
white-robed  girls  typifying  spring,  youth  and  hope.  The  cavalry  section,  with 
brilliant  banners  of  purple,  white  and  gold,  was  headed  by  Miss  Elsie  Hill,  of 
Connecticut.  In  contrast  with  the  Amazonian  pomp  of  mounted  suffragists 
were  the  more  sober  and  business-like  ranks  of  the  women  workers,  in  bodies 
according  to  then:  callings  —  writers,  actresses,  doctors,  stenographers,  farmers, 
waitresses,  milliners,  and,  as  if  to  defy  the  taunts  of  '  the  Antis,'  home  makers 
marching  under  their  banner."  4 


1  See  the  New  York  Tribune  of  that  date,  p.  6. 

2  Cf.  the  Suffragettes'  London  march,  pictured  in  the  Illus.  Land.  News  for  25  June,  1910, 
p.  ion.    Picture  2  emphasized  "  the  fact  that  many  suffragettes  have  been  in  prison  as  a 
result  of  their  political  beliefs  ";   it  showed  "  Miss  Howey  in  prison  dress  on  the  only  car  in 
the  procession." 

3  On  the  "  allegory,"  see  below,  p.  284  f. 

4  The  London  Observer,  for  10  May,  1914,  p.  n.    Cf.  the  "  Pageant  of  Spring  "  with  the 
masques  mentioned  above,  p.  191,  and  below,  p.  284. 


2$6  ENGLISH  PAGEANTRY 

"  PAGEANTRY  FOR  RETURNING  HEROES  " 

Under  this  title,  the  Literary  Digest  for  12  April,  1919,  records  —  with  illus 
trations  —  the  welcome  planned  by  New  York  City  for  her  troops  returning  from 
overseas  service.  Here  the  pageantry  recalls  the  Elizabethan  triumphal  arch  — 
the  structures  erected  at  London  in  I5591  and  at  Norwich  in  1 5 78, 2  for  instance. 
The  troops  themselves  were  not  pageantic :  like  those  of  war-time  Lord  Mayor's 
Shows,  they  were  history  itself,  not  a  representation  of  historical  characters,  nor 
symbolical  figures  representing  History.  An  observer,  quoted  from  the  New 
York  Times  by  the  Literary  Digest,  remarks:  "  The  three  phases  of  the  decora 
tions  were  evident  last  night.  At  the  Public  Library  with  the  Court  of  the  Heroic 
Dead,  a  mourning  note  was  struck,  while  victory  was  the  motif  at  the  Victory 
Arch,  and  joy  and  thankfulness  at  the  Arch  of  Jewels,  at  Sixtieth  Street.  Thou 
sands  and  thousands  of  crystal  prisms  gave  out  the  colors  of  the  rainbow  last 
night  at  the  jeweled  portal,  which  consists  of  an  arch  of  two  shafts,  each  eighty 
feet  high,  the  portal  itself  being  a  hundred  and  thirty  feet  wide.  About  thirty- 
two  thousand  pieces  of  prisms  in  ruby,  jonquil,  olivin,  and  ultramarine  blue  sur 
round  a  sunburst  of  nine  thousand  pieces  to  bring  out  the  coats-of-arms  of  the 
Allies  ..."  An  interesting  discussion  of  the  effectiveness  of  the  architectural 
features  of  these  "  pageants  "  is  summarized  in  the  same  issue  of  the  Literary 
Digest.  A  selection  from  a  letter  which  appeared  in  the  New  York  Tribune,  I 
quote : 

Street  pageantry  and  decoration,  being  for  an  occasion,  are  not  architecture,  which  is  for 
continual  and  daily  use  and  enjoyment.  Therefore,  such  decoration  should  not  be  made  even 
remotely  to  resemble  architectural  art,  for  if  it  does  so,  it  immediately  and  inevitably  enters 
into  competition  with  the  surrounding  architecture,  with  which  it  cannot  hope  to  compete, 
but  which  it  may  nevertheless  outrival  by  reason  of  its  gaiety,  its  brilliance,  and  by  a  beauty 
of  an  entirely  different  sort. 

Instead  of  being  treated  to  an  exhibition  of  pageantry  and  decoration  as  an  art  in  itself, 
we  were  confronted  with  imitation  architecture  of  an  ancient,  uninspired,  cumbersome  sort; 
false  in  fact,  false  in  taste,  and  actually  obstructive  to  the  aim  and  end  of  it  all,  which  was 
to  enhance  and  adorn  the  spectacle  of  marching  troops. 

It  was  false  in  fact  because  it  was  lath  and  plaster  made  to  imitate  enduring  stone.  It 
was  false  in  taste  because  it  echoed  the  taste  of  imperial  Rome  by  way  of  imperial  France. 
It  was  obstructive  because  it  actually  obstructed  the  movement  of  the  troops  and  the  vision 
of  the  spectators. 

The  trump-cards  in  the  decorator's  pack,  color  and  movement,  were  played  scarcely  at 
all.  .  . 

It  is  encouraging  for  the  future  of  pageantry  in  the  United  States,  to  know  that 
public  interest  can  be  aroused  enough  to  discuss  matters  of  beauty  —  in  con 
nection  with  triumphal  arches  erected  for  street  parades.  The  Dewey  recep 
tion  of  1899 —  also  a  "  military  pageant  "  -  is  compared  (by  a  writer  in  the 


1  Cf.  above,  vol.  i,  p.  200.  2  Cf.  above,  vol.  i,  p.  211. 


PAGEANTRY  IN  THE  UNITED  STATES  257 

New  York  Evening  Sun,  who  is  quoted  in  the  Literary  Digest}  with  the  return 
of  the  New  York  troops;  he  finds  a  loss  of  the  picturesque  in  the  olive-drab 
uniforms  of  the  present  day.  The  Dewey  Arch,  on  the  site  of  which  the  Victory 
Arch  was  erected,  is  pictured  in  the  same  number  of  the  Literary  Digest. 

This  survey  —  incomplete  as  it  is  —  is  sufficient  to  show  us  the  range  of 
processional  pageantry.  In  its  least  developed  form,  it  is  the  carnival  procession 
pure  and  simple.  Sometimes  it  takes  on  a  suggestion  of  history,  either  national 
or  local,  but  —  being  given  by  a  small  group  —  is  not  of  the  community.  Some 
times  it  is  used  for  propaganda;  sometimes  it  combines  history  with  an  ill- 
assorted  carnivalistic  melange;  sometimes  it  approaches  the  Parkerian  work, 
as  at  Norristown,  where  the  community  furnished  scenes  (which  were  practi 
cally  speechless  "  episodes  ")  dealing —  with  one  exception —  with  the  history 
of  the  community;  and  the  exception  included  symbolism,  frequently  found  at 
the  end  of  the  "  community  drama."  It  is  obvious  that  the  greater  the  unity 
of  the  underlying  plan  in  these  proceessions,  the  larger  the  share  of  the  com 
munity  in  preparing  and  producing  them,  the  more  care  that  is  given  to  get 
historical  accuracy,  the  greater  the  civic  pride  and  the  desire  for  civic  better 
ment  awakened  by  them  —  the  higher  they  rise  in  the  scale  of  pageantry.  It 
may  not  be  fair  to  judge  the  Lord  Mayor's  Show  by  these  standards ;  but  they 
may  be  applied  with  justice  both  to  the  processional  pageant  and  the  "  com 
munity  drama  "  in  the  United  States. 

§  2.    THE  COMMUNITY  DRAMA 

We  have  seen  that  Mr.  Parker  wanted  to  call  his  pageants  "  folk-plays,"  but 
that  this  name  did  not  awaken  enthusiasm.  As  the  German  Erinnerungsspiele 
serve  to  keep  alive  some  episode  in  the  history  of  a  town,  so  the  old  "  folk-plays  " 
of  England  recall  some  pre-Christian  festival  —  the  Robin  Hood  plays  are 
supposed  to  go  back  to  a  fight  between  Winter  and  Summer;  or  some  event 
in  the  past  of  the  community  —  the  Hox  Tuesday  play  of  Coventry,  for  ex 
ample,  is  thought  to  commemorate  a  victory  over  the  Danes. 

When,  early  in  the  eighteenth  century,  speech  died  out  of  the  Lord  Mayor's 
Show,  the  characters  in  these  triumphs  were,  presumably,  wheeled  through  the 
streets  silent  on  their  pageant-cars.1  In  1783,  as  we  have  seen,  figures  from  the 
Lord  Mayor's  Show  appeared  on  the  stage  of  a  London  theatre;  the  transfer 
was  not  difficult.  Probably  —  although  more  evidence  is  needed  to  prove  the 
matter  conclusively  —  the  silent  group  which  portrayed  an  historical  event  on 
some  pageant-car  in  a  street  procession,  lies  behind  the  group  which  did  the 
same  thing  in  a  hall. 


1  Only  one  in  each  group  had  delivered  speeches  in  the  days  when  the  services  of  a  poet 
were  required;  even  in  the  days  of  the  "  royal-entry,"  the  groups  on  the  pageants  had  never 
been  far  removed  from  the  tableau  mvant. 


258  ENGLISH  PAGEANTRY 

In  1882,  William  Penn  was  the  chief  figure  in  a  pageantic  procession  at  Phila 
delphia;  in  1888,  scenes  from  the  early  history  of  the  colony  were  presented  in 
Centennial  Hall,  at  Marietta,  Ohio.1 

THE  MARIETTA  PAGEANT  OF  1888 

Ten  "  tableaux  "  made  up  this  pageant,2  most  of  them,  apparently,  nothing 
more  than  "  living  pictures  "  of  scenes  from  the  early  history  of  the  new  colony. 
It  is  hard  to  tell  just  how  much  speaking  there  was;  but  there  seems  to  have 
been  some.3  Musical  selections  separated  the  tableaux.  The  first  scene  showed 
the  landing  of  the  French  at  the  mouth  of  the  Muskingum  on  16  August,  1749; 
the  last  was  a  minuet  at  Blennerhassett's,  in  which  Aaron  Burr  and  various 
other  historical  characters  took  part.  There  was  no  symbolical  or  allegorical 
character  in  this  pageant. 

THE  PLYMOUTH  "HISTORIC  FESTIVAL"  OF  1896 

At  the  end  of  the  nineteenth  century,  these  "  historic  festivals  "  or  "  pag 
eants  "  were  common  enough.  The  rarity  of  the  program  of  that  given  on  the 
last  week  of  July,  1896,  and  again  in  1897,  at  Plymouth,  Massachusetts,  warrants 
its  reprinting.  "  The  performances  were  given  in  a  large  hall  which  was  used  as 
an  armory,  and  would  easily  accommodate  fifteen  hundred  people,"  writes  Mr. 


1  It  must  be  borne  in  mind  that  Mr.  Parker  recognizes  no  debt  to  the  "  living  pictures  " 
of  the  street  procession;  and  that,  while  American  pageantry  of  the  twentieth  century  recog 
nizes  its  debt  to  the  Parkerian  work,  there  was  no  direct  influence  from  America  on  the  modern 
pageant  in  England.    The  origin  of,  and  influences  upon,  the  German  Erinnerungsspiele  can 
not  be  taken  up  here;  these  provide  a  fruitful  field  for  further  research. 

2  A  full  account  of  this  pageant  (the  "  manager  "  of  which  was  Mrs.  Edward  E.  Phillips) 
is  given  in  the  Report  of  the  Commissioners  of  the  National  Centennial  Celebration  of  the  early 
Settlement  of  the  Territory  Northwest  of  the  River  Ohio,  which  is  recorded  in  the  Bibliography, 
s.  v.  MARIETTA.    The  celebration  was  held  there  15-19  July,  1888;    the  "pageant"  (the 
word  is  used  in  the  Report)  was  produced  on  17  July,  in  Centennial  Hall. 

Cf.  also  for  mention  of  this  pageant,  Bates  and  Orr,  Pageants  and  Pageantry,  pp.  12,  13, 
and  Davol,  Am.  Pag.,  pp.  31  f.;  on  p.  33  a  scene  is  illustrated.  Mr.  Davol  notes  that  the 
pageant  was  repeated  at  Cincinnati  the  October  following. 

3  E.  g.,  in  tableau  iv:   "  General  St.  Clair  .  .  .  enters  the  (  bowery  '  near  by  and  his  com 
mission  as  Governor  is  read."    (Report,  p.  29);   in  tableau  viii,  scene  2:    "A  woman  with 
children,  .  .  .  Mrs.  Moulton,  (was)  missing.  — '  Is  she  killed  ?  '    '  No,'  said  Lydia,  '  mother 
has  stopped  to  put  things  a  little  to  rights.'  "     (Report,  p.  31.)    "In  this  tableau,"  the  pro 
gram  continues,  "  the  original  Campus  Martius  bell,  which  rang  the  alarm  in  1791,  will  be 
used." 

Historical  accuracy  was  sought  for,  and  the  community  drawn  upon  for  actors  and  heir 
looms.  An  historical  loan-collection  (with  which  may  be  compared  those  at  York  and  New 
York  in  1909)  was  a  part  of  the  celebration,  and  indicates  the  "  educational  "  spirit  which  is 
so  prominent  in  the  modern  work. 


PAGEANTRY  IN  THE  UNITED  STATES  259 

Lord.1  "  There  were  no  speeches.  .  .  .  The  affair  was  planned  principally  by 
Miss  Margaret  MacLaren  Eager  of  New  York,  who  at  that  time  had  charge  of 
many  historical  pageants,  as  they  were  called.  She  arranged  the  tableaux,  se 
lected  the  persons,  determined  the  costumes,  and  had  the  entire  responsibility 
for  the  preparation  of  the  scenes,  and  acted  as  stage  manager. 

"  The  general  management  of  the  affair  was  in  the  hands  of  a  large  committee 
of  which  I  was  chairman.  The  nominal  purpose  of  the  pageant  was  to  secure 
funds  to  provide  a  new  bell  for  the  First  Church,  the  old  one  having  been  in 
jured  in  the  fire  which  destroyed  the  church,  and  sufficient  funds  were  raised 
to  recast  the  old  bell  and  place  it  in  position.  The  pageant,  as  the  program  shows, 
involved  no  writing  as  the  actors  had  no  speaking  parts  ..." 

The  character  of  this  entertainment  is  shown  by  the  program;  the  thing  was 
called  an  "  historic  festival,"  and  entitled  Old  Plymouth  Days  and  Ways. 

WEDNESDAY  AND  FRIDAY  EVENINGS 

Scene  i.   Scrooby,  Farewell  of  Gov.  Bradford. 

2.   Festivities  of  Holland  Peasants.    Tableau,  the  Embarkation  of  the  Pilgrims  from 

Delft  Haven. 
Scene  3.   Indian  life.    An  Indian  Hunt  Dance.    Tableau,  the  Landing  of  the  Pilgrims  on 

Plymouth  Rock. 

Scene  4.  A  service  in  the  Old  Fort. 
Scene  5.  A  Pilgrim  Wedding. 
Scene  6.  A  Ball  of  1760.    The  Flag  Dance. 


THURSDAY  AND  MONDAY  EVENINGS  AT  8 

Tableau,  the  Embarkation  from  Delft-Haven. 

Scene  i.  Indian  Life.  An  Indian  Hunt  Dance.  Tableau,  the  Landing  of  the  Pilgrims.  Tab 
leau,  the  Treaty  with  Massasoit.  Tableau,  home  of  John  and  Priscilla. 

Scene  2.  David  Alden's  family.    (Descendants  of  John  and  Priscilla.) 

Scene  3.  A  Tea  Party  of  1770.    The  Flag  Dance. 

The  Civil  War  —  Scene  i,  Departure  of  troops.  Scene  2,  A  camp  scene.  Scene  3,  Return  of 
troops. 

SATURDAY  MATINEE  AT  2:30 

Scene  i.  Scrooby.    The  farewell  of  Wm.  Bradford. 

2.   Festival  of  Holland  Peasants.    The  Embarkation  from  Holland. 
Scene  3.   Indian  Life.    An  Indian  Hunt  Dance.    Tableau,  the  Landing  of  the  Pilgrims. 
Scene  4.  A  Pilgrim  wedding.    A  drum  dance. 

5.  A  Ball  of  1760.    The  Flag  dance. 


1  I  am  indebted  to  Mr.  Arthur  Lord,  of  Plymouth  and  Boston,  for  the  opportunity  of 
transcribing  the  program  of  this  festival.  My  quotations  are  from  a  letter  of  his  dated  25 
February,  1915. 


260  ENGLISH  PAGEANTRY 

SATURDAY  EVENING  AT  8 

Scene  i.   Scrooby.    The  farewell  of  Gov.  Bradford. 

Tableau.  The  Embarkation.   An  Indian  Scene.    Indian  Hunt  Dance.   Tableau,  The  Landing. 

A  Pilgrim  wedding.    Tableau,  Home  of  John  and  Priscilla.    David  Alden's  family. 

A  Tea  party  of  1770.    A  Flag  dance.    Return  of  the  troops. 


THURSDAY,  FRIDAY  AND  MONDAY  AT  2 145 

Scene  i.  A  dancing  school  of  the  olden  time. 

2.  The  flags  of  all  nations. 

3.  A  quilting  party  of  1812.  A  drum  dance. 

4.  A  sailor  dance. 

Here  were  living  pictures,  dances,  and  perhaps  scenes  acted  in  dumb-show. 
Symbolism  may  have  played  a  part  in  such  a  scene  as  "  the  Flags  of  all  Nations  " ; 
and  there  may  have  been  a  stirring  of  local  pride  due  to  the  historical  scenes 
portrayed  —  most  of  which,  it  will  be  remarked,  emphasized  the  customs  of  the 
people,  although  Governor  Bradford,  Massasoit,  John  and  Priscilla  Alden,  and 
other  historical  characters,  appeared.  But  the  purpose  of  the  "  festival "  was 
not  to  awaken  civic  pride;  it  was  to  get  a  bell  for  the  church... 

THE  BOSTON  "  HISTORICAL  FESTIVAL  "  OF  1897 

Miss  Eager  directed  the  "  Historical  Festival  "  which  was  given  in  Music 
Hall,  Boston,  22-30  April,  1897,  under  the  auspices  of  the  Boston  Teachers' 
Mutual  Benefit  Association.1  This  consisted  of  various  scenes  or  living  pic 
tures  2  given  by  different  groups  as  follows:  "  Boston,  England.  St.  Botolph's 
Church  where  John  Cotton  preached.  English  villages  and  their  Merry-makings. 
John  Cotton.  Thomas  Dudley  and  others  enter  and  discuss  the  matter  of  trans 
ferring  the  Charter  and  Company  of  New  England  to  New  England  .  .  .3  Cam 
bridge,  England.  Meeting  of  the  twelve  men  chosen  to  weigh  and  consider  the 
matter  of  transferring  the  Charter  and  Company  to  New  England  .  .  ."  4  Then 
came  "  The  wharves  at  Southampton,  England.  Tableau.  '  Departure  of  the 
Puritans.'  "  5  Students  of  the  English  High  and  Latin  Schools  gave  the  next 
scene,  which  was  entitled  "  Indian  Home  Life,"  and  showed  "  '  Blaxton  '  wel- 

1  The  souvenir  program  of  this  —  with  the  names  of  those  who  took  part,  and  the  char 
acters  each  represented  —  is  in  the  Harvard  Library  (Thr.  1211.70).    This  pamphlet  is  my 
authority  for  the  following  remarks. 

2  It  is  impossible  to  tell  from  the  program  how  great  a  part  was  played  by  speech.  . 

3  This  was  "  under  the  auspices  of  Boston  Art  Students."    The  characters  included  Puri 
tans  and  Villagers,  a  May  Queen,  Gregory  and  Jester,  together  with  the  historical  figures. 

4  This  scene  was  "  under  the  auspices  of  members  of  the  Tavern  Club  ";     the  cast  of 
characters  included  some  well-known  names.    (Cf.  program,  p.  23.) 

6  This  was  "  under  the  auspices  of  the  Gov.  Thomas  Dudley  Family  Association  ";  Mr. 
Sanford  H.  Dudley  took  the  part  of  Governor  Thomas. 


PAGEANTRY  IN  THE  UNITED  STATES  261 

coming  Winthrop  and  his  followers  to  Shawmut."  An  early  Town  Meeting 
(1633)  was  next  presented  "  under  the  auspices  of  Boston  Masters,"  and  then 
the  Colonial  Dames  showed  "  Puritan  Home  Life.  The  welcome  given  to 
Margaret  Winthrop  and  John  Eliot,"  and  "  Copley's  Studio,"  which  "  tableau 
represents  a  lady  of  the  period  sitting  for  the  artist  in  his  studio  in  Boston.  A 
few  of  her  friends  accompany  her."  A  social  gathering  in  provincial  days,  with 
old-time  dances,  made  up  the  next  episode;  after  which  members  of  Battery  A 
gave  "  The  Boston  Massacre,"  and  "  The  Removal  of  the  Troops."1  The  "  In 
terior  of  the  Green  Dragon  Tavern  —  Meeting  of  the  Sons  of  Liberty  "  was 
produced  under  the  auspices  of  the  Old  South  Historical  Society,  who  also  gave 
"  The  Old  South—  the  '  Tea  Meeting,'  "  and  "On  Board  the  Dartmouth  - 
the  Boston  Tea  Party."  The  Mary  Draper  Chapter,  D.A.R.,  gave  "  On  the 
Road  to  Roxbury.  Mary  Draper's  Home.  The  Eve  of  the  Battle,"  and  a  com 
pany  of  the  English  High  School  regiment  showed  Paul  Revere  and  the  minute- 
men  at  Lexington.  "  Washington's  Entrance  into  Boston  "  was  presented  by 
members  of  the  Ancient  and  Honorable  Artillery  Company; z  and  the  reception 
at  Governor  Hancock's  mansion,  on  10  August,  1790  (on  the  arrival  of  the 
Columbia,  the  first  American  ship  to  sail  round  the  world)  was  under  the  charge 
of  "  ladies  of  the  William  H.  Prescott  Club."  The  Daughters  of  the  Revolution 
gave  "  the  Lafayette  Reception,  1824,"  and  the  State  Department  of  the  Wo 
man's  Relief  Corps  and  the  G.A.R.  showed  the  departure  and  return  of  troops 
in  the  tune  of  the  Civil  War.  With  the  Flag  Dance  and  three  "  Children's 
Scenes,"  3  the  festival  came  to  an  end. 

As  at  Plymouth,  there  was  some  dancing  in  this  pageant,  but  the  emphasis 
was  more  on  history  —  and  the  whole  show  seems  to  have  been  given  at  every 
performance.  The  "  flag  dance  "  may  have  been  the  same  as  that  of  Plymouth, 
and  the  quilting  party  may  have  been  another  "  stock  scene  " ;  but  the  important 
thing  to  note  here  is  that,  although  given  for  an  object,  many  different  groups  — 
historical,  educational,  and  social  —  took  part  in  the  festival,  thus  tending  to 
link  the  community  together. 

1901  —  HISTORICAL  SCENES  AT  YALE 

In  his  account  of  the  Yale  Bicentennial,4  Professor  Henry  S.  Canby  recalls 
that  in  October,  1901,  "five  thousand  Yale  men,  costumed  to  represent  the 
historic  ages  of  the  University,  marched  .  .  .  from  the  campus  aglow  with  orange 

1  This  latter  scene  was  laid  in  the  Governor's  Council  Chamber,  and  included  Lieutenant- 
Governor  Hutchinson,  Samuel  Adams,  citizens,  officers,  and  the  council. 

2  An  off-shoot  of  the  London  Honourable  Artillery  Company,  which  figured  in  more  than 
one  Lord  Mayor's  Show. 

3  Which  showed  "  Master  Tileston  and  his  School  of  ye  Olden  Time,"  "  A  Quilting  Party," 
and  "  Ye  Miniature  Navy." 

4  The  Book  of  the  Yale  Pageant,  pp.  105  ff.    The  second  scene  of  the  fourth  episode  was 
planned  to  represent  the  academic  procession  of  the  Bicentennial. 


262  ENGLISH  PAGEANTRY 

lanterns,  and  set  about  with  great  bowls  blazing  with  burning  rosin,  through  the 
streets  of  New  Haven  ...  On  Tuesday  evening,  the  graduates  filled  an  amphi 
theatre  built  about  a  stage  upon  which  the  undergraduates  presented  scenes  from 
the  history  of  Yale.  This  was  the  first  open  air  presentation  of  historical  scenes 
under  modern  conditions,  and  may  earn  for  Yale  the  name  of  '  Mother  of  Pag 
eants.'  Classes  were  grouped  together,  and  in  the  waits  between  the  scenes  each 
introduced  its  favorite  old-time  songs  ...  At  the  end  of  the  evening,  the  audi 
ence  of  nine  thousand  stood  bareheaded  singing  the  Doxology,  as  at  the  end  of 
Chapel  service,  while  bombs  burst  overhead  and  stars  of  fire  rained  through  the 
elm  tops  —  thus,  so  said  an  observer  afterward,  '  praising  God  and  raising  hell/ 
in  good  Yale  fashion." 

Perhaps  because  this  was  overshadowed  by  "  the  more  formal  aspects  of  the 
Bicentennial,"  or  perhaps  because  it  was  exclusively  for  a  Yale  audience,  this 
"  pageant  "  seems  not  to  have  exercised  much  direct  influence  on  others.  There 
were  historical  scenes  (though  not  out-of-doors)  at  Marietta  in  1888,  and  at 
Boston  in  iSgj.1  And  history  had  been  reproduced  out-of-doors  at  Plymouth,  in 
i8oi.2 

QUEBEC  PAGEANT  OF  JULY,  1908 

With  the  birth  of  the  Parkerian  pageant  in  England,  new  influences  began  to 
be  felt.  No  longer  were  living  pictures  and  pantomimic  scenes  illustrating  his 
torical  events  —  the  kind  of  pageant  which  developed  in  America  at  the  end  of 
the  nineteenth  century —  sufficient.  The  Sherborne  Pageant  of  1905  had  been 
three  years  a  memory  when  one  of  the  first  of  the  more  elaborate  shows  was 
produced  on  this  continent —  that  which  took  place  at  Quebec  in  i9o8.3 

Mr.  Frank  Lascelles,  the  master  of  the  pageant  which  celebrated  the  ter 
centenary  anniversary  of  the  founding  of  Quebec  in  July,  1908,  had  been  the 
master  of  the  Oxford  Pageant  of  1907;  the  connection  between  this  and  the  Par 
kerian  work  in  England  is,  therefore,  not  hard  to  trace.  At  five  o'clock  on  the 
afternoon  of  21  July,  the  first  regular  performance  of  this  part  of  the  celebration 
began; 4  the  technique  is  in  general  like  the  English  pageants,  but  we  may  go 


1  See  above,  pp.  258  and  260  f.  2  See  above,  p.  236  f. 

3  Although  this  chapter  deals  chiefly  with  pageantry  in  the  United  States,  we  may,  per 
haps,  be  allowed  to  cross  the  frontier  without  offending  our  northern  neighbors.    I  have  al 
ready  mentioned  various  pageantic  processions  which  accompanied  this  tercentenary  cele 
bration,  (see  above,  p.  240  f.). 

4  For  further  details  than  I  give  here,  see  the  Historical  Souvenir  and  Book  of  the  Pageants 
of  the  sooth  Anniversary  of  the  Founding  of  Quebec,  the  Ancient  Capital  of  Canada,  20-31  July, 
1908  (illustrated).    (Montreal  [1908]);   Carrel,  The  Quebec  Tercentenary  Commemorative  His 
tory  (illustrated).    (Quebec,  1908);  Les  Fetes  du  Troisieme  Centenaire  de  Quebec,  1608-1908. 
(illustrated).     (Quebec,  1911),  where  Les  Spectacles  Historiques  are  fully  described  on  pp. 

369  ff- 

Besides  the  illustrations  in  these  volumes,  I  may  note  that  the  Don  de  Dieu  is  reproduced 


PAGEANTRY  IN  THE  UNITED  STATES  263 

into  some  detail,  in  view  of  the  historical  importance  of  this  one.  It  will  be 
observed  that  some  freedom  is  allowed  in  the  matter  of  site; 1  that  speech  is 
not  so  important  as  in  some  of  the  English  pageants; 2  but  that  the  spirit  of  the 
Parkerian  work  is  kept. 

The  first  episode  dealt  with  Jacques  Cartier,  and  the  founding  of  Quebec, 
1534-6.  Much  of  this  —  though  not  all — appears  to  have  been  in  pantomime 
and  song.  The  second  scene  —  Cartier  at  the  court  of  Francois  I  —  seems  also 
to  have  been  largely  pantomime;  what  words  may  have  been  spoken  were  not, 
probably,  very  important.  The  second  "  pageant  "  -  or  episode —  took  place 
at  the  Louvre ;  Henri  IV  gave  Champlain  a  commission  to  set  out  for  la  Nouvelle 
France.  Again  trumpets,  music,  song,  and  dance  seem  to  play  more  important 
a  part  than  dialogue.  The  second  scene  of  this  "  pageant  ":  "1620 —  Samuel 
de  Champlain  brings  to  Quebec  his  young  wife,  and  is  received  by  the  Garrison 
of  the  Fort,  and  the  friendly  Indians  who  perform  the  Calumet  dance  in  their 
honour."  The  third  episode,3 —  "  1639:  Mere  Marie  de  1'Incarnation  reaches 
Quebec  with  the  Ursulines  and  Jesuits  and  is  received  by  the  Governor,"  -  was 
followed  by  one  which  showed  how  in  1660  Adam  Bollard,  Sieur  des  Ormeaux, 
and  his  companions  in  arms  at  Long  Sault  kept  the  fort  against  the  Iroquois. 
The  fifth  episode  was  the  reception  by  Mgr.  de  Laval  of  the  Marquis  de  Tracy, 
the  Lieutenant-General  of  Louis  XIV;  the  sixth,  "  Daumont  de  Saint-Lusson 
takes  possession  of  the  country  of  the  West,  in  the  name  of  the  King  of  France." 
Phips  appeared  in  the  seventh  episode;  and  the  "  Battles  of  the  Plains  of  Abra 
ham  " 4  followed;  the  last  "  pageant  "  or  episode  was  the  "  march  past  "  of 
characters  and  a  final  chorus. 

As  the  two  armies  of  Montcalm  and  Wolfe  stood  facing  each  other,  "  from  a 
thick  bush  in  the  centre  of  the  field  were  seen  to  emerge  a  cluster  of  white  doves 
—  emblems  of  peace.  They  were  released,  but  uncertain  of  their  freedom,  hesi 
tated,  then  soared  overhead,  as  if  cementing  the  unity  of  the  two  armies  below."  5 


in  the  Illus.  Land.  News  for  25  July,  1908,  p.  125,  and  by  Davol,  in  Handbook  Am.  Pag.,  p.  40. 
The  pavane  danced  in  this  pageant  is  illustrated,  ibid.,  p.  197. 

1  E.g.,  the  "  second  pageant  "  (or  episode)  takes  place  at  the  Louvre;  and  though  "  c'est 
a  Montreal  que  Jacques  Cartier  lut  1'evangile  selon  saint  Jean  aux  sauvages  groupes  autour 
de  lui,"  (Les  Fetes,  p.  371)  it  was  thought  good,  to  show  the  Christian  spirit  of  the  discoverer, 
to  introduce  the  scene  as  if  it  had  happened  at  Quebec. 

2  E.  g.   "  II  est  arrive  qu'  a  la  scene  Ton  dut  couper  certains  dialogues,  abreger  certains 
discours;  nous  les  citerons  aussi  integralement  que  possible."    (Les  F£tes,  p.  376.)  Cf.  Carrel, 
pp.  131  f.,  for  a  description  of  the  pageant  in  scenario  form.    On  pp.  154  f.  some  of  the  dia 
logue  (between  the  English  and  Frontenac)  is  reprinted.    Dialogue  in  English,  Latin,  French, 
and  even  in  the  Indian  tongue,  seems  to  have  been  delivered;  we  may  suppose  that  the  mean 
ing  of  the  scenes  was  largely  brought  out  by  action. 

3  Illustrated  in  Les  Fetes,  opp.  p.  400. 

4  Wolfe  against  Montcalm  (1759)  and  Levis  against  Murray  (1760). 

5  Carrel,  p.  86. 


264  ENGLISH  PAGEANTRY 

With  the  laying  of  wreaths  on  the  monument —  "  to  the  honor  of  Wolfe  "  by 
one  of  Montcalm's  men,  and  "  to  the  honor  of  Montcalm  "  by  one  of  Wolfe's  — 
the  pageant  came  to  an  end.1 

The  pageant  given  at  Lancaster  (Massachusetts)  on  4  July,  1912,  was  a  de 
velopment  of  the  "  tableau  pageant."  It  consisted  of  four  scenes  from  the  his 
tory  of  the  town,  presented  on  the  village  green.  It  was  not  entirely  without 
speech,  although  that  played  a  very  minor  part.2 

THE  PETERBOROUGH  PAGEANT  OF  1910 

Turning  from  the  purely  historical  pageant,  like  that  of  Quebec,  we  find  that 
— although  it  was  the  affair  of  the  whole  town  —  the  Peterborough  (New  Hamp 
shire)  Pageant  was  "  a  tribute  to  Edward  MacDowell."  3  It  "  tried  for  the  first 
time  to  express  a  town's  history  in  music  written  by  a  former  citizen,  and  aimed 
to  bind  the  different  episodes  in  a  closer  unity  than  is  common,"  says  Professor 
Baker,  the  master  of  the  pageant.4  The  emphasis  is,  perhaps,  more  on  the  im 
personal  element  of  history  —  what  may  be  called  its  social  side  —  than  is  com 
mon  with  historical  pageants.  The  attention  which  music  and  dancing  received 
seems  to  place  this  much  nearer  the  masque  than  the  historical  "  folk-play  " 
usually  gets;  but  the  "  popular  "  quality  of  the  pageant  saves  it.  There  is, 
perhaps,  a  good  deal  of  masque-technique;  but  the  fact  that  the  townspeople 
took  a  personal  pride  in  the  pageant  separates  it  from  such  shows  as  the  Bo 
hemian  Club  "  Jinks."  5 

The  pageant  opens  with  an  invocation,  in  which  Muses  and  Dreams  appear. 
An  Indian  idyl  follows;  and  then  we  have  an  episode  dealing  with  "  the  con 
ditions  in  North  Ireland  compelling  the  emigration  of  the  settlers."  In  this  we 
see  the  impersonality  of  the  history;  Boy,  Old  Woman,  Young  Woman,  Old 
Man,  Pedlar,  Peasants,  Puritan,  Children,  Soldiers  —  the  list  shows  us  that  we 
are  dealing  largely  with  the  supernumeraries  of  history.  In  these  episodes,  Sir 
William  Tenney,  Lady  Tenney,  and  Horton  are  the  only  individuals  named. 

"  The  Departure  "  and  "  The  Landing  "  are  followed  by  "  The  Burial  of  the 


1  Carrel,  p.  88.    A  "pageant  ball "  or  "historical  ball"  seems  to  have  been  little  more 
than  a  fancy-dress  ball,  though  most  of  the  costumes  were  "  historic."    "  Everything  else 
was  of  today,  but  the  spirit  was  that  of  history  —  the  history  of  the  times  and  peoples  that 
made  the  Dominion  —  the  history  which  one  is  pleased  to  think  of  —  the  history  whose 
thoughts  are  studied  and  the  garb  of  whose  period  is  worn.    In  a  thankful  manner  the  spirit 
of  the  age  was  imbued  and  its  garb  donned. 

;<  The  spirit  of  pageantry  and  history  rilled  Quebec  and  even  in  their  enjoyments  Que- 
becers  learned,  for  the  ball  was  a  lesson  and  a  pleasant  one."    (Carrel,  p.  122.) 

2  The  program  of  this  pageant  may  be  found  in  the  Harvard  Library. 

3  Book  of  the  Peterborough  Pageant,  p.  5. 

4  In  New  Boston  for  November,  1910,  p.  295. 
8  On  this,  see  below,  p.  286. 


PAGEANTRY  IN  THE  UNITED  STATES  265 

Chieftain."1  "A  Colonial  Wedding"  -again  with  unnamed  characters2  — 
shows  "  a  custom  of  these  early  settlers  at  weddings  .  .  .  The  scene  illustrates 
also  the  essential  part  spinning  played  in  the  daily  life  of  the  time.  It  is  a  fact 
that  the  women  carried  their  wheels  with  them  even  to  festivities."  3 

A  dance  illustrating  an  old  legend  concerning  a  whimsical  negro  who  was  the 
village  cow-herd,  forms  episode  viii;  this  is  followed  by  "The  Call  to  Arms, 
April  18-19,  I775-"  "  Working  the  Hand-Looms,  1810,"  recalls  the  building 
of  the  first  cotton  mill,  a  hundred  years  before  the  pageant;  "  The  Deserted 
Farm  " 4  again  deals  with  nameless  characters.  Then  comes  a  "  Dance  —  in 
Autumn." 

The  final  episode  is  the  welcome  of  Peterborough  to  its  returning  soldiers  in 
1865:  then  a  dance —  "  Peterborough  welcomes  People  of  other  Nations  and 
the  Muses  to  her  Woods  and  Hills  "  -  after  which  Peterborough  reviews  the 
historical  groups — Settlers,  Indians,  Colonials,  Revolutionary  figures,  the 
Milling  group,  the  people  of  the  Civil  War  period,  and  the  Foreign  Races  - 
and  receives  the  English,  Canadian,  and  New  York  Peterboroughs.5 

This  pageant  combines  history,  mythology,  and  symbolism ;  it  employs  dance 
and  music,  as  well  as  dialogue;  it  portrays  the  past  of  the  town,  and  uses  in  the 
portrayal  the  musical  utterance  of  a  great  man.  We  can  see  that  in  certain 
details  it  differs  from  the  Parkerian  norm;  but  it  does  not  lose  its  right  to  the 
name  of  pageant  for  all  that. 

"  FROM  CAVE  LIFE  TO  CITY  LIFE  "   -  AT  BOSTON  IN  1910 

A  pageant  which  combines  history  and  allegory  —  which  has,  one  might 
say,  a  symbolic  structure  built  on  a  foundation  of  history  —  is  the  Boston 
"  Civic  Pageant  "  of  1910,  entitled  From  Cave  Life  to  City  Life.  We  may  ex 
amine  this  somewhat  at  length,  because  it  differs  from  the  Parkerian  pageant 
widely.6 

1  It  looks  from  the  program,  or  Book  of  the  pageant,  as  if  each  scene  were  made  up  of 
pantomime  and  singing  —  the  music  based  —  of  course  —  on  MacDowelPs  compositions, 
which  were  arranged  by  Mr.  Chalmers  D.  Clifton.   Mr.  Baker  tells  me  there  was  more  speak 
ing  than  would  appear  from  the  Book;  the  dialogue  has  not  been  published. 

2  Save  for  "  Old  Black  Baker." 

3  Cf.  the  illustration  (from  another  pageant)  in  Davol,  p.  125.    Pictures  of  "  Dreams  " 
(on  p.  19)  and  of  a  solo-dancer  in  this  pageant  (on  p.  168)  may  be  found  in  Davol. 

4  Cf.  episode  ix  of  the  Thetford  Pageant,  (the  Book  of  that  pageant,  pp.  50  f.). 

5  This  ending  —  with  its  symbolism  and  "  march  past "  —  is  more  Parkerian  than  is 
usual  in  America.    The  song  which  the  cliorus  sings  during  the  final  march  expresses  the  hope 
characteristic  of  the  "  futuristic  "  pageant. 

6  The  program  of  this  pageant  was  published  in  the  "  pageant  number  "  of  New  Boston 
(November,  1910),  i,  no.  7,  pp.  273  f.    Miss  Lotta  A.  Clark  was  "  Director  of  the  Pageant." 
Besides  the  illustrations  in  this  pamphlet,  the  Knights  of  Economy,  and  other  pictures,  may 
be  found  in  Davol. 


266  ENGLISH  PAGEANTRY 

Although  this  "  Pageant  of  the  Perfect  City  "  -  to  give  it  its  subtitle  —  was 
not  arranged  to  celebrate  any  civic  anniversary,  it  was  given  by  a  thousand 
citizens  of  "  greater  Boston  "  as  part  of  the  "  civic  advance  campaign  "  to 
awaken  municipal  pride,  to  quicken  a  public  spirit  of  cooperation,  and  to  stir 
the  community  life  to  better  things.  The  pageant  was  given  in  the  Boston 
Arena  on  the  evenings  of  10,  n,  and  12  November. 

A  Prologue,  in  which  Father  Time  invites  Labor,  Progress,  Success,  and  Pros 
perity,  Peace,  and  Happiness  to  assist  man  in  his  work,  was  followed  by  episode  i 
-  the  Cave  Dweller  at  the  first  hearthstone.1  An  "  interlude  "  -  which  was  a 
dance  symbolic  of  the  welcome  which  Vineland  extended  to  the  Norsemen  — 
separated  the  first  and  second  episodes;  then  followed  "  Life  in  the  Indian  Vil 
lage."  Another  solo-dance  —  the  Dance  of  the  Waves  —  introduced  the  third 
episode,  which  showed,  in  three  scenes,  "  The  Colonists  and  their  Settlement  for 
Freedom  in  the  new  Land  ";  scene  i,  the  struggle  for  existence —  including  a 
fight  with  the  Indians;  scene  ii,  "  Strength  and  Progress.  An  early  Thanks 
giving  ";  and  scene  iii,  "  The  Resistance  to  Tyranny,"  with  "  The  Governor's 
Reception,"  2  at  which  a  minuet  was  danced. 

After  a  five-minute  interval,  episode  iv —  "  Present  Success  and  Future  Im 
provement  "  -  was  introduced  by  a  solo-dance  entitled  "  The  Passing  of  the 
Indian."  In  the  fourth  episode,  there  were  four  scenes  dealing  with  the  past, 
present,  and  future,  together  with  "  the  assimilation  of  the  nations."  The  char 
acters  here  were  symbolical  personifications.  The  pageant  came  to  an  end  with 
a  solo-dance,  and  the  singing  of  a  patriotic  hymn. 

"  The  present  Boston  Pageant  works  by  contrasts,"  says  Professor  Baker,3 
"  aiming  to  suggest  future  possibilities  by  placing  in  juxtaposition  that  in  the 
past  which  was  inept  and  uncomfortable,  and  the  commonplaces  of  life  today 
undreamed  of  by  our  forefathers."  The  illustrated  evolution  is  meant  to  stimu 
late  a  demand  for  realities  which  might  seem  ideal,  he  continues,  by  showing 
that  the  commonplace  of  today  was  undreamed  of  even  a  hundred  years  ago. 

Much  which  the  program  of  the  pageant  contains  was,  it  should  be  remarked, 
omitted  in  the  actual  production;  and  much  of  the  symbolism  of  the  final  assem 
bly  was  not  clearly  brought  out. 

1  While  the  majority  of   the  episodes  did  not  contain  speeches,  they  were  not  living- 
pictures  in  the  sense  of  being  presented  by  people  who  remained  motionless.    The  spectators 
sat  on  three  sides  of  the  Arena,  and  the  acting  took  part  on  the  floor  in  the  middle;   when 
scenery  was  needed  it  was  placed  at  the  far  end,  under  the  musicians. 

2  Until  the  second  scene  of  this  episode,  when  Jonathan  Edwards,  the  minister,  reads  the 
Thanksgiving  proclamation,  no  historical  figure  appears.    As  at  Peterborough,  many  of  the 
characters  have  no  names,  being  designated  simply  as  "  the  Captain,"  "  the  Minister," 
"  Colonists,"  etc.    With  the  "  Town  Crier  "  and  "  Minister  "  (named  Jonathan  Edwards  on 
p.  284  of  the  program;  without  a  name  on  p.  290)  in  the  second  scene  of  episode  iii,  appeared 
"  The  New  England  Conscience  ";    "the  Dance  of  the  Devil  and  the  New  England  Con 
science  "  of  the  Taunton  Pageant  of  1911  is  illustrated  in  Davol,  p.  168. 

3  In  the  number  of  New  Boston  already  cited,  p.  295. 


PAGEANTRY  IN  THE  UNITED  STATES  267 

The  fact  that  the  spectators  sat  on  three  sides  of  the  hall,  tended  to  destroy 
much  of  the  effect  —  for  more  than  two-thirds  of  the  people  had  no  background 
against  which  to  see  the  pageant,  save  that  furnished  by  their  fellow-citizens 
across  the  "  stage."  The  first  two  episodes,  given  in  pantomime,  were  effective; 
but  the  solo-dances,  which  were  highly  symbolic,  meant  little  to  many  of  the 
on-lookers,  who  soon  wearied  of  the  gliding  figure  of  the  dancer,  graceful  as  it 
was.  The  first  scene  of  the  third  episode  —  with  its  fight  between  settlers  and 
Indians  —  was  effective ; *  but  the  second  scene  (where  inaudible  speech  was 
introduced)  contained  too  much  material,2  and  divided  the  attention  of  the  spec 
tators  in  much  the  same  way  as  does  a  four-ring  circus.  The  fourth  episode  - 
a  review  by  Boston  and  the  suburban  cities,  of  present  success  and  future  im 
provement  —  was  nothing  but  a  kermess.  The  Town  Crier  was  jostled  out  of 
the  way  by  newsboys;  pillions,  Sedan  chairs,  and  coaches  were  distanced  by  an 
electric  motor-car  which  whirled  about  the  hall  until  the  spectators  grew  dizzy, 
and  bore  before  us  the  name  of  the  manufacturer  with  a  commercial  zeal  worthy 
of  the  Lord  Mayor's  Show  at  its  worst. 

The  "  present  city  "  included  in  its  historic  past  the  Indians  and  Colonists 
who  had  appeared  in  earlier  episodes;  the  "  future  city  "  showed  "  Dust  Clouds 
bringing  Disease  Germs,"  "  Flames  "  (extinguished  by  the  "  Knights  of  Econ 
omy  ")  and  other  symbolical  figures  represented  by  children,  appropriately 
dressed,  who  danced  as  in  a  ballet.  The  final  scene,  "  The  Assimilation  of  the 
Nations,"  was  frankly  a  ballet,  in  which  each  group —  dressed  in  the  national 
costumes  of  Scandinavia,  Scotland,  Ireland,  Holland,  Russia,  Hungary,  Italy, 
and  Greece  —  joined,  dancing,  as  best  they  could,  the  peasant  dances  of  each 
country.  A  final  solo-dance  —  "  Aspiration  "  -  brought  the  pageant  to  an  end; 
the  friends  of  the  pageanters  swarmed  from  their  seats  to  the  floor  of  the  arena, 
the  band  struck  up  a  waltz,  and  the  rest  of  the  spectators,  on  their  way  to  the 
doors,  looked  down  on  a  fancy-dress  ball. 

This  pageant  combined  history  and  symbolism;  but  the  historical  characters 
were  —  as  has  been  noted  —  types  rather  than  real  men.  Some  actual  char 
acters  were,  of  course,  presented;  but  few  of  the  men  who  live  in  the  history  of 
Boston  appeared.  Peter  Faneuil,  John  Hancock,  Samuel  Adams,  James  Otis, 
Cotton  Mather,  and  many  others  were  conspicuous  by  their  absence;  "  Colonist 
Captain,"  "  Ezra,"  "  Minister,"  "  Jotham,"  "  Sally,"  "  the  Rev.  Arthur  Brown," 
"  Lord  Marrington,"  and  other  equally  well-known  characters  took  then:  place. 
"  The  New  England  Conscience  "  appeared  in  the  first  two  scenes  of  the  third 
episode,  and  the  combination  of  history  and  symbolism  was  not  a  happy  one. 


1  This  recalls  such  musters  as  that  held  at  Bristol  in  1574,  and  the  fight  between  cavaliers 
and  Puritans  at  Colchester  in  1909. 

2  "  The  party  now  breaks  up  into  four  separate  groups:  i.  The  Dame  School.     2.  A  spin 
ning  school.    3.  A  quilting  party.    4.  The  singing  school  .  .  ."   (New  Boston,  p.  285.) 


268  ENGLISH  PAGEANTRY 

From  Ab  to  the  Governor's  Reception  we  had  history  of  a  sort ;  but  it  was 
"  typical  "  rather  than  actual.  Then  the  pageant  became  a  huge  ballet;  the 
vast  floor  was  covered  with  moving  figures  in  gay  costumes,  reviewed  by  Boston 
and  her  suburbs.  The  "  Spirit  of  America,"  a  gauze-clad  figure  with  waving 
arms,  was,  perhaps,  the  quintessence  of  symbolism;  but  just  what  idea  she  was 
intended  to  illustrate,  a  large  proportion  of  the  spectators  could  not  easily  have 
told,  had  they  lost  their  programs.  There  is  a  danger  in  being  too  subtle  before 
an  assembly  not  carefully  chosen  —  many  of  whom  were  more  interested  in 
John  and  Mary  than  in  the  Disease  Germs  or  Dust  Clouds  they  were  supposed 
to  represent ;  and  this  danger  was  not  avoided  in  From  Cave  Life  to  City  Life. 

The  failure  —  if  failure  there  were  —  to  arouse  a  civic  pride  and  a  desire  for 
civic  betterment,  is  easily  accounted  for.  Many  groups  from  Boston  and  its 
suburbs  were  herded  together  in  this  affair ;  but  when  a  community  has  a  popu 
lation  of  a  million  and  a  half,  it  is  impossible  to  arouse  in  each  individual  a 
keen  interest  in,  and  a  sense  of  responsibility  for,  the  pageant;  and  this  feeling  is 
necessary  for  the  complete  success  of  a  modern  civic  pageant.  Mr.  Parker 
maintains  that  pageantry  should  be  limited  to  the  smaller  communities;  when 
it  is  transported  to  the  metropolis  it  becomes  a  kind  of  "  festival  "  or  "  group- 
pageant,"  even  if  the  subject-matter  is  of  general  civic  interest. 

Another  reason  for  the  weakening  of  the  civic  appeal  —  if,  indeed,  it  were 
weakened  —  is  that  the  great  moments  of  Boston's  history  and  the  great  men 
of  Boston's  past  were  not  reproduced.  Instead,  were  typical  scenes,  which  might 
-  in  most  cases  —  have  happened  anywhere  in  New  England ;  and  personified 
abstractions,1  which  surely  belong  to  no  one  place.  Undoubtedly  more  civic 
spirit  was  aroused  by  this  Boston  pageant  among  the  performers  than  among 
the  spectators  —  and  it  would  be  hard  to  prove  that  none  was  awakened  in 
those  who  witnessed  this  pageant.  Here  is  a  matter  which  only  time  can  settle; 
and  no  one  in  America  should  condemn  even  an  abortive  attempt  to  foster  this 
needful,  and  all  too  rare,  desire  to  improve  our  civic  conditions. 

Assuming  that  civic  betterment  did  not  result  from  this  pageant,  and  that 
it  gave  birth  to  no  tightening  of  community  ties,  can  we  deny  it  a  right  to  the 
name  ?  What  is  the  sine  qua  non  of  pageantry  ?  Is  there  one  ?  These  ques 
tions  we  must  try  to  answer  later;  here  it  is  enough  to  point  out  that  although 
the  distinction  made  between  "  pageant  "  and  "  festival  "  is  arbitrary,  this  is 
an  example  of  the  kind  of  thing  that  is  between  the  two.  The  group  that  gave 
it  was  not  "  exclusive  "  -  many  associations,  historical,  religious,  and  educa 
tional,  united;2  but  it  is  hard  to  get  a  group  that  is  "  inclusive  "  in  any  large 
city.  Technically,  this  drew  much  from  the  masque ;  and  the  amount  of  allegory, 

1  With  the  "  futuristic  "  pageant  we  shall  deal  later.    Here  I  wish  merely  to  point  out 
that  there  is  not  the  inspiration  in  a  dancing  figure  called  "  Dust  Cloud  "  that  there  is,  for 
instance,  in  the  representation  of  General  Washington. 

2  The  Indians  were  a  professional  troupe  of  real  Indian  actors. 


PAGEANTRY  IN  THE  UNITED  STATES  269 

characteristic  of  many  American  pageants,  tends  —  as  we  shall  see  —  to  relate 
them  to  the  morality-play. 

THE  PAGEANTS  OF  LAWRENCE  AND  TAUNTON,  1911 

"  The  Lawrence  Pageant  of  Progress  was  modelled  on  the  Pageant  of  Educa 
tion,"  writes  Mrs.  Dallin,  the  author  of  the  pageant.1  "  It  was  a  great  deal 
bigger  in  conception.  Its  central  figure  was  Lawrence,  represented  as  an  In 
dustrial  City.  Her  attendants  were  the  Civic  Virtues;  and  the  history  of  the 
city  and  its  activities  was  symbolically  represented.  Thus  there  was  a  dance  of 
river  maidens  and  foam  sprites;  and  other  elements  connected  with  Lawrence 
were  introduced. 

"  Then  followed  by  means  of  various  groups  —  symbolic  and  picturesque 
-  the  story  of  the  progress  of  the  world,  industrially,  educationally,  etc.,  giving 
especial  prominence  to  industrial  progress,  because  the  city  of  Lawrence  is  an 
industrial  city  ..." 

This  seems  to  have  been  a  pageant  dealing  with  history  rather  through  sym 
bolism  than  in  terms  of  historical  characters.  More  historical  —  and  yet  with 
a  good  deal  of  symbolism  and  allegory  —  is  the  Taunton  (Massachusetts) 
Pageant  of  July,  191 1.2  This  was  entitled  A  Pageant  of  American  History  — 
a  Living  Lesson  in  Patriotism;  it  opened  with  Father  Time  and  dancing  fairies ; 
the  first  episode  presented  "  American  Indians  at  home,"  and  "  the  Landing  of 
Columbus."  Episode  ii  showed  Cavaliers  and  Puritans  in  Taunton,  England; 
then  came  an  interlude  —  the  "  Dance  of  the  Waves  "  -  which  recalls  the  Boston 
Civic  Pageant  of  1910; 3  after  which  a  second  scene  showed  the  beginnings  of 
Taunton  in  New  England.  The  first  scene  of  episode  iii  took  us  to  the  Court  of 
George  III;  but  the  second  brought  us  back  to  Taunton  Green  on  the  eve  of  the 
Revolution.  An  interlude  ("  the  Devil  and  the  New  England  Conscience  "  -  the 
latter  of  whom  was,  it  will  be  recalled,  a  character  in  the  Boston  Civic  Pageant) 
introduced  the  last  episode  —  scene  i,  the  return  of  the  soldiers  at  the  end  of  the 


1  In  a  letter  dated  3  August,  1912.    I  have  not  seen  the  program  of  this  pageant,  which 
was  given  in  1911.    The  Pageant  of  Education,  to  which  she  refers,  was  that  given  in  1908  at 
the  Boston  Normal  School;  this  we  shall  consider  later  —  see  below,  p.  281  f. 

Am.  Pag.  Assoc.,  Bulletin  22,  15  July,  1915,  records  the  pageants  produced  in  America 
during  1911.  That  of  Lawrence  is  characterized  as  "a  pageant  dealing  more  particularly 
with  educational  and  industrial  progress,  with  most  of  the  participants  chosen  from  the  higher 
school  grades.  In  form  it  differed  from  the  ordinary  pageant  in  that  it  opened  with  a  pro 
cessional  [sic]  disclosing  all  the  pageant  groups,  and  in  that  the  episodes  were  not  of  a  local 
historical  character." 

2  The  program  of  this  pageant  is  in  the  Harvard  Library,  bound  as  an  appendix  to  chap 
ter  ix  in  the  second  volume  of  my  MS.  thesis.    Various  illustrations  of  the  pageant  are  in 
Davol,  pp.  10, 62,  76,  101, 131,  i68,and  185.    Cf.  also,  for  a  short  characterization,  Am.  Pag. 
Assoc.,  Bulletin  22,  15  July,  1915. 

3  Cf.  above,  p.  266.    It  will  be  noted  that  the  unity  of  place  is  not  kept. 


270  ENGLISH  PAGEANTRY 

Civil  War,  with  the  "  Prophecy  of  the  New  America  ";  scene  2,  folk-dances  by 
local  nationalities  —  French-Canadians,  Irish,  Scotch,  Italians,  Portuguese,  and 
"  Polanders."  The  final  dance  —  the  "  Spirit  of  America  "  —  recalls  the  Boston 
Civic  Pageant  again. 

We  may  note  the  "  futuristic  "  quality  of  this  pageant,  as  well  as  the  latitude 
in  history  which  the  author  allowed  himself.  Neither  Columbus  nor  George  III 
had  much  to  do  with  Taunton  directly.1  If  the  pageant  failed  to  awaken  as 
much  community-spirit  as  it  would  have  done  if  all  the  scenes  had  been  taken 
from  purely  local  history,  yet  surely  such  a  pageant,  given  on  the  national  holi 
day,  must  have  aroused  a  sense  of  patriotism  which  undoubtedly  bore  fruit.2 

THE  PAGEANTS  or  THETFORD  (1911)  AND  ST.  JOHNSBURY  (1912) 

As  other  examples  of  pageants  which  are  both  historical  and  symbolical,  we 
may  mention  those  which  Mr.  W.  C.  Langdon  produced  at  Thetford  and  St. 
Johnsbury  in  Vermont.3  In  both,  the  histories  of  the  towns  make  up  the  main 
part;  and  both  contain,  in  addition,  symbolical  characters. 

The  pageant  of  Thetford,  which  was  given  in  August,  1911,  opened  with  "  a 
dramatic  dance  symbolic  of  the  three  nature-elements  of  Thetford  —  the  moun 
tains,  the  river,  and  the  intervale."    Mingled  with  these  three  Spirits,  Indian 
braves  and  squaws  danced  until  the  White  Man  arrived.    Historical  episodes  — 
some  of  which  contained  dialogue,  and  others  of  which  were  pantomimic  — 
followed;  and  the  pageant  was  brought  to  an  end  by  the  Spirit  of  Thetford,  the 
Spirit  of  Pageantry,  America,  Vermont,  and  the  neighboring  States. 

"  The  Power  of  the  Wilderness  "  -  a  figure  which  recalls  the  early  "  wild- 
man,"  and  the  Sylvanus  of  Elizabethan  entertainments  —  opened  the  St. 
Johnsbury  Pageant.4  The  Spirits  of  Mountains,  Forests,  Rivers,  and  Valleys 
joined  him,  and  the  group  was  put  to  flight  by  the  Spirit  of  Civilization.  Dia 
logue  and  pantomime  —  rather  more  of  the  former  than  at  Thetford,  I  think  — 
were  used  in  the  historical  scenes  which  followed;  and,  at  the  end,  America, 
Vermont,  and  the  surrounding  States  appeared  again.  But  instead  of  a  personi 
fication  of  St.  Johnsbury,  we  have  the  figures  of  St.  John  de  Crevecceur  and  the 
Knight  of  St.  Johnsbury,  with  his  train  of  the  Knights  of  St.  John.5 

1  Undoubtedly,  the  fact  that  the  pageant  was  given  on  4  July,  was  responsible  for  the 
inclusion  of  much  American  history  which  had  little  local  significance. 

2  There  is  nothing  in  the  program  to  tell  us  what  part  speech  played  in  the  pageant,  which 
contained  a  considerable  amount  of  dancing. 

3  The  Books  of  both  are  in  the  Harvard  Library. 

4  This  took  place  in  August,  1912.    I  may  note  that  a  picture  illustrating  the  Thetford 
Pageant  is  in  Davol,  p.  210,  and  that  illustrations  of  the  St.  Johnsbury  Pageant  may  be  found, 
ibid.,  pp.  150,  1 86. 

6  Which  represented  the  various  towns  of  Caledonia  County  and  of  the  Passumpsic 
River  and  upper  river  valley.  Two  squires  on  foot  represented  the  two  villages  of  St.  Johns- 
bury  Centre  and  East  St.  Johnsbury. 


PAGEANTRY  IN  THE  UNITED  STATES  271 

Both  of  these  pageants  may  be  termed  "  futuristic,"  in  that  they  view  the 
past  with  an  eye  on  the  present,  and  the  present  in  a  hopeful  mood.    Mr.  Lang- 
don  tells  me  that  he  has  tried  to  show  the  people  not  only  what  they  have,  but 
how  to  use  it;   and  at  Thetford  the  pageant  committee  is  still  in  existence - 
the  centre  of  much  effort  for  local  improvement. 

THE  PAGEANT  OF  KEENE,  1913 

Living-pictures,  pantomime,  and  speech  were  all  used  in  the  historical  pageant 
which  was  given  in  the  City  Hall  of  Keene  (New  Hampshire)  in  February,  igis,1 
under  the  auspices  of  Ashuelot  Chapter,  D.A.R.  A  hundred  and  fifty  per 
formers  took  part,  including  a  number  of  school  children.2 

After  the  overture  and  a  "  processional  "  by  the  school  children,  "  the  In 
dians  in  the  Forest  "  -  "  which  .  .  .  gave  an  excellent  and  necessary  picture  of 
the  wilderness  to  which  the  first  settlers  came  "  -  was  followed  by  a  dance, 
"  The  Spirit  of  the  forest,  heralding  the  pioneer."  Various  historical  scenes, 
called  "  acts,"  followed;  they  were  separated  from  each  other  by  musical  selec 
tions  more  or  less  appropriate.  "  Act  8  "  -  which  preceded  that  showing  the 
departure  of  the  first  regiment  for  the  Civil  War,  and  followed  the  tableau  en 
titled  "  The  Minute  Man  "  -  was  an  "  allegorical  picture  "  representing  Keene 
and  her  industries.  "  Keene,  seated  in  a  graceful  chariot,  was  splendidly  per 
sonified  .  .  .  and  the  dances  of  the  Elements  .  .  .  were  of  rare  beauty  and  excel 
lence  and  all  of  them  typical  to  a  marked  degree.  The  costumes  of  the  dancers 
were  a  splendid  feature  .  .  .  The  dancers,  each  typical  of  the  impersonation 
sought,  were  the  embodiment  of  grace,  beauty  and  skill  .  .  .4 

"  A  recessional  or  march  around  the  hall  by  all  the  characters  of  the  even 
ing  .  .  .  came  next,  after  which  all  who  had  taken  part  reassembled  on  the  stage 
and  were  grouped  for  a  final  tableau  of  unusual  scope  and  detail  because  of  the 


1  I  am  indebted  to  Professor  Rudolph  Altrocchi  of  the  University  of  Chicago  for  a  copy 
of  the  Keene  Evening  Sentinel  of  Friday,  21  February,  1913,  where  a  full  account  of  the  pag 
eant  is  printed. 

2  "  The  historian,  Rev.  J.  L.  Seward,  D.D.,  who  selected  and  wrote  out  a  historic  story 
from  which  pictures  of  notable  events  in  the  history  of  the  town,  from  its  beginning,  could 
be  pictured,  did  his  part  well.    The  director,  Mrs.  Robert  P.  Hayward, ...  the  stage  manager, 
Mr.  Fred  E.  Howe,  and  several  who  assisted  him,  were  particularly  efficient  ..."    Keene 
Evening  Sentinel,  loc.  cit. 

3  "  The  allegorical  and  historic  scenes  which  follow,"  says  the  program  printed  in  the 
Evening  Sentinel,  "  were  announced  and  explained,  in  several  instances  with  brief  quotations 
from  early  records,  by  the  prolocutor,  Mrs.  W.  H.  Prentiss." 

4  The  figures  were:   Keene,  Water  Power,  Monadnock,  Fire,  Agriculture,  Fur,  and  Pine. 
To  quote  the  program:   "  In  this  scene  Keene  and  her  attendants  formed  the  central  group, 
while  the  industries  of  Keene,  personified  by  six  graceful  dancers  typifying  the  elements  of 
her  productions,  in  turn  enter,  dance  around  the  stage  and  present  to  Keene  the  elements 
which  they  represent." 


272  ENGLISH  PAGEANTRY 

large  number  [of]  the  impersonators  of  the  scenes  of  the  evening  entering  into 
it.  The  Goddess  of  Liberty  . . .  was  the  central  figure,  standing  on  a  high  pedestal 
in  the  rear  ...  As  the  curtain  went  up,  the  orchestra  and  children  struck  up 
'  The  Star-Spangled  Banner/  the  audience  rising,  and  joining  in  the  chorus."  l 

Allegory,  history,  symbolism,  dancing,  and  tableau  all  contributed  their  share 
to  this  pageant. 

"  AN  DHORD  FHIANN  "  IN  NEW  YORK,  1913 

As  an  example  of  an  historical  pageant  which  interests  a  part  of  the  com 
munity  only —  not  merely  because  it  was  given  in  a  metropolis,  but  also  be 
cause  it  does  not  deal  with  the  history  of  the  place  —  let  us  note  the  Irish  His 
toric  Pageant,  entitled  An  Dhord  Fhiann,  which  was  produced  under  the  aus 
pices  of  the  American  Committee  of  the  Gaelic  League  of  Ireland  in  New  York 
on  7  and  8  May,  igis.2  The  matter  treated  is  Irish  history  from  the  Feis  at 
Tara  (mid-third  century)  to  the  Convention  of  Dromceatt  (at  the  end  of  the 
sixth  century) ;  there  is  little  symbolism,  and  though  the  history  may  be  con 
sidered  legendary,  the  pageant  is  historical.  It  is  interesting  to  note  that  the 
history  deals  in  no  way  with  New  York;  its  limited  appeal  makes  this  produc 
tion  as  much  a  "  festival  "  as  is  The  Masque  of  Learning  or  the  Boston  Normal 
School  pageant;  at  best,  this  is  on  the  line  between  pageant  and  festival  despite 
its  historical  material. 

THE  HOLLIS  HALL  PAGEANT  or  1913 

Another  pageant,  historical  in  material,  but  with  an  appeal  to  a  compara 
tively  small  body  of  the  community  —  even  of  the  Harvard  community  —  is 
the  Hollis  Hall  Pageant  which  was  given,  under  the  direction  of  Professor  George 
P.  Baker,  on  14  June,  I9i3,3  to  celebrate  the  hundred  and  fiftieth  anniversary  of 
the  Harvard  dormitory.  The  subject-matter  dealt  with  the  history  of  the  hall, 
rather  than  of  the  college;  a  small  proportion  of  the  undergraduates  took  part 
in  the  pageant —  though  the  opportunity  to  do  so  was  shared  by  all;  but  the 
number  of  participants  was  not  confined  to  those  rooming  in  Hollis  itself.  The 
University  community  did  not  feel  a  personal  interest  in,  or  responsibility  for, 
the  success  of  the  pageant,  which  was  produced  primarily  for  Hollis  men  —  past 
and  present;  but  many  of  the  college  public  witnessed  the  performance.4 

This  stands  on  the  line  between  "  festival  "  and  a  pageant  dealing  with  the 
history  of  a  community.  Technically  it  was  the  latter;  as  regards  the  spirit  of 
its  production  it  belongs  rather  to  the  "  festival."  Harvard  history  crept  into 
the  pageant;  but  the  chief  emphasis  was  on  Hollis  history. 

1  Evening  Sentinel,  as  cited.         3  The  program  of  this  pageant  is  in  the  Harvard  Library. 

2  The  program  is  in  HCL.    This  pageant  was  by  Anna  T.  Craig. 

4  Cf.  with  this,  the  Charterhouse  tercentenary,  of  8  July,  1911  (mentioned  above,  p.  227). 
The  celebration  included  a  "  masque  "  —  which  was,  like  this  one,  rather  a  pageant  or  festival. 


PAGEANTRY  IN  THE  UNITED  STATES  273 

One  unusual  feature  deserves  to  be  mentioned:  it  was  given  by  men  pri 
marily  for  men  (though  women  were  allowed  to  witness  it).  No  female  char 
acter  appeared  —  allegory,  symbolism,  and  history  were  all  expressed  by  mas 
culine  characters,  who  told  the  story  of  the  college  dormitory,  and  what  the  life 
there  has  meant  to  generations  of  college  men,  to  a  college  audience. 

THE  ST.  Louis  PAGEANT  OF  1914 

In  the  Pageant  and  Masque  which  were  given  at  St.  Louis  in  May,  1914,  we 
find  allegory  and  history  separated.1  The  pageant  began  "  with  an  imaginary 
realistic  scene  in  the  life  of  the  Mound-Builders  "  and  carried  continuously  "  the 
actual  local  history  down  to  the  Doniphan  expedition ; 2  while  the  masque  was 
a  wholly  independent  poetical  and  symbolical  drama  designed  to  show  the  inner 
significance  of  the  existence  of  the  city  and  its  humanity,  in  their  broadest  cosmic 
relations,  and  to  indicate  its  destiny  and  the  quality  of  its  influence  in  the  future. 
The  pageant  began  in  the  daylight  and  concluded  in  the  evening  dusk  with  some 
assistance  from  the  very  remarkable  and  effective  electric  lighting  system  em 
ployed,  while  the  masque,  beginning  after  dark,  was  wholly  dependent  upon 
artificial  light,  through  which  effects  of  the  most  beautiful  and  striking  char 
acter  were  obtained."  3 

As  there  was  no  "  exclusiveness  "  in  cast  or  audience,  and  as  dancing  seems 
to  have  played  almost  no  part  in  this  "  masque  "  of  Mr.  MacKaye's,  one  may 
feel  that,  strictly  speaking,  it  has  no  right  to  the  name,  the  use  of  which  tends 
to  confuse.  Rather  than  a  masque,  it  is  a  poetical  "  morality-play  "  or  "  alle 
gorical  drama  ";  and  this  production  is  particularly  noteworthy  in  that  it  shows 
a  tendency  to  keep  apart  the  two  elements  of  the  American  pageant,  which  often 
is  —  as  we  shall  point  out 4  —  a  combination  of  chronicle-history  and  morality- 
play. 

1  On  this,  see  The  Book  of  Words  of  the  Pageant  and  Masque  of  Saint  Louis,    The  Words  of 
the  Pageant  by  Thomas  Wood  Stevens;  the  words  of  the  Masque  by  Percy  MacKaye.    (St.  Louis, 
1914) ;   also  Arthur  Farwell,  The  Pageant  and  Masque  of  St.  Louis;   a  People's  Drama  on  a 
National  Scale  (illustrated),  in  the  American  Review  of  Reviews  for  August,  1914,  pp.  187-193; 
scenes  from  the  masque  are  illustrated  in  Davol,  pp.  15  and  39. 

2  There  were  three  "  movements  "  or  episodes;  —  a  Prophet  separated  the  first  and  second, 
and  a  Watchman,  the  second  and  third  —  like  members  of  a  "  chorus."    The  "  Pierre  Chou- 
teau,"  who  figured  in  the  second  episode  of  the  pageant  —  which  included  the  landing  of 
Laclede  —  was  the  Pierre  Chouteau,  who  —  the  last  survivor  of  Laclede's  party  —  rode  in 
the  pageantic  procession  at  St.  Louis  in  1847.    (See  above,  p.  237,  n.  3.) 

3  Farwell,  article  cited,  p.  190.    It  may  be  mentioned  that  a  knight  chosen  by  St.  Louis 
overcomes  Gold  in  a  tournament  (see  Book  of  the  Words,  pp.  93  f.).    We  find  here  much  the 
same  union  of  allegory  and  tournament  as  in  1581,  when  the  Foster-Children  of  Desire  as 
saulted  the  Queen's  heart;  but  then,  allegory  was  approached  through  the  tournament,  while 
in  this  "  masque,"  the  tournament  is  approached  through  allegory. 

4  See  below,  p.  291. 


274  ENGLISH  PAGEANTRY 

THE  YALE  PAGEANT  OF  1916 

The  Yale  Pageant  of  1916  is  noteworthy  as  being  perhaps  the  most  important 
American  pageant  in  which  an  institution  was  joined  by  the  larger  community 
surrounding  it,  to  produce  that  which,  but  for  such  collaboration,  must  have 
been — technically,  at  all  events — a  "festival."  The  occasion  was  the  two 
hundredth  anniversary  of  the  removal  of  the  College  to  New  Haven  from  Say- 
brook,  where  Yale  had  been  founded  in  1701 ;  the  history  reproduced  was  chiefly 
Yalensian,  though  the  city  figured  in  "  The  Founding  of  New  Haven,"  the 
"  Kansas  Volunteers,"  and  in  various  other  episodes,  such  as  the  Governor's 
Foot  Guard  of  1775,  and  the  Town  and  Gown  Riots  of  the  early  nineteenth 
century,  where  citizens  and  collegians  fought  with  and  against  each  other.1 


1  See  the  Book  of  the  Yale  Pageant,  edited  by  George  H.  Nettleton.  This  contains  the 
episodes  of  the  pageant  (each  of  which  was  by  a  different  author)  and  numerous  essays  on 
Yale  achievement.  Mr.  F.  H.  Markoe,  a  Yale  graduate,  was  the  master  of  the  pageant. 

An  outline  of  the  pageant  shows  the  relation  of  history  and  symbolism  —  the  latter  being 
chiefly  confined  to  the  "  interludes." 

Prelude.    The  scene  is  laid  in  Wales,  and  shows  the  wedding  of  Margaret  ap  lenkyn 
(grandmother  of  John  Yale,  the  founder  of  the  family)  in  1485. 
First,  or  Colonial,  Episode. 

Scene    i.  The  Founding  of  New  Haven. 

Scene  ii.    The  Founding  of  the  College. 

Scene  iii.    The  Removal  of  the  Books  from  Saybrook. 

Scene  iv.    The  First  Commencement  at  New  Haven. 
First  Interlude. 

The  Passing  of  the  Arts  and  Sciences  from  the  Old  World  to  the  New. 
Second,  or  Revolutionary,  Episode. 

Scene    i.    The  Demanding  of  the  Keys  to  the  Powder  House,    and    the    March    to 
Cambridge,  1775. 

Scene  ii.    The  British  Invasion  of  New  Haven  in  1779. 

Scene  iii.    The  Martyrdom  of  Nathan  Hale. 

Scene  iv.    President  Washington's  Visit  to  New  Haven  in  1789. 
Second  Interlude. 

An  allegory  of  War  and  Peace. 
Third,  or  Early  Nineteenth  Century,  Episode. 

Scene    i.    Town  and  Gown  Riot. 

Scene  ii.    The  Burial  of  Euclid. 

Scene  iii.    The  Kansas  Volunteers. 

Scene  iv.    The  Death  of  Theodore  Winthrop. 
Third  Interlude. 

The  Wooden  Spoon  Prom. 
Fourth,  or  Modern,  Episode. 

Scene    i.    Panels  of  Modern  Yale. 

Scene  ii.    The  Yale  Bicentennial. 

Scene  iii.    The  Yale  Battery. 
Finale.    Yale,  the  Mother  of  Colleges  and  Men. 


SCENES  FROM  THE  PAGEANT  OF  BLOOMINGTON  AND  INDIANA  UNIVERSITY  — 1916 
[An  example  of  the  pageant  in  which,  as  in  the  Yale  Pageant,  the  past  of  an  educational  institution  is 
combined  with  that  of  the  community  in  which  it  is  situated,  and  of  which  it  is  a  part.    The  two  men 
kneeling  at  the  altar  (in  the  lower  picture)  are  the  Governor  of  the  State  and  the  President  of  the 
University;  it  is  not  uncommon  to  find  cit^  and  state  officials  taking  part  in  pageants.] 


PAGEANTRY  IN  THE  UNITED  STATES  275 

Yale,  like  many  another  institution  of  learning,  is  in  spirit  a  community:  and 
it  is  often  difficult  to  separate  such  a  community  from  the  larger  one  about  it. 
The  pageant  was  produced  in  the  Yale  Bowl,  but  all  the  scenes  were  not  laid  in 
New  Haven:  the  Prelude,  for  instance,  took  place  in  Wales;  "  The  Founding  of 
the  College,"  at  Branford;  "  The  Removal  of  the  Books,"  at  Saybrook,  the 
early  seat  of  the  College;  the  execution  of  Nathan  Hale  (Yale,  1773)  at  New 
York. 

The  fourteen  "  panels,"  with  which  the  fourth  episode  opens,  are  tableaux 
•vivants; l  and  the  mock-funeral  of  Euclid  is  an  academic  parallel  to  the  earlier 
Pope-burnings.  Such  pageantry  as  this  student-ceremony  included,  between 
the  late  eighteen- twenties  and  1860,  was  reproduced  in  the  second  scene  of  the 
third  episode  of  this  pageant  —  recalling  the  mediaeval  pageant-car  which  re 
appeared  in  the  York  Pageant  of  1909. 

The  first  two  interludes  are  allegorical:  the  third  reproduces  a  "  prom  of  by 
gone  days,  when  ladies  built  a  yard  around  themselves,  and  gentlemen  wore 
tight  trousers  of  incredible  length."  2  It  is  worthy  of  note  that  the  performers 
of  the  Civil  War  scene  -  -  "  The  Death  of  Theodore  Winthrop  "  -  were  veterans. 
"  These  are  no  dressed-up  mummers,  but  the  very  men  themselves :  Grand  Army 
men,  some  two  hundred  of  them;  their  old  blue  uniforms  hanging  loose  over 
shrunken  shoulders  —  and  their  rusty  old  Springfields  at  the  carry  .  .  .  And 
then  something  happens.  For  ten  minutes  those  two  hundred  or  so  old  gentle 
men  of  our  fathers'  time  have  been  going  through  what  for  them  was  not  play 
acting  but  the  very  truth  itself.  For  ten  minutes  they  have  stood  there  remem 
bering;  and  their  memory  reaches  out  and  strikes  the  watching  multitude  like 
an  invisible  wave.  As  the  long  column  plods  toward  the  stands,  the  grim  gray 
heads  held  high  and  the  thin  fife  piping  a  cracked  hymn  tune,  thirty  thousand 
people  are  on  their  feet  and  uncovered,  not  knowing  why  or  how;  and  the  ap 
plause  rises  and  swells  and  crackles  into  one  deep  roar!  Someone  whispers: 
'  God!  look  at  their  faces! '  And  we  look,  and  read  things  written  there.  These 
men  did  not  keep  us  out  of  war.  They  faced  it,  and  brought  us  through  on  the 
right  side.  They  were  too  proud  to  fight  with  words  alone.  They  fought  with 
more  than  words;  and  the  fire  of  things  we  cannot  understand  shines  on  their 
steady  faces.  In  all  the  Pageant  there  has  been  nothing  like  this;  for  the  rest 
was  allegory  and  reminiscence;  but  this  is  resurrection."  3 

The  final  tableau,  for  which  Mr.  Lawrason  Riggs  wrote  verse  far  above  the 
commonplace,  included  a  "  symbolic  float  of  the  University  (occupied  by  Repre- 


1  They  were  evidently  not  produced  for  lack  of  time;   see  Brian  Hooker's  account  of  the 
pageant,  p.  14. 

2  Brian  Hooker's  description  of  the  Pageant,  in  the  (illustrated)  supplement  to  the  Yale 
Alumni  Weekly  of  27  October,  1916,  gives  a  full  account  of  every  episode.    This  one  is  pic 
tured  on  the  cover. 

3  Hooker,  loc.  cit.,  pp.  n  f. 


276  ENGLISH  PAGEANTRY 

sentatives  of  the  three  Official  Departments  .  .  .)  "  1  on  which  "  Mother  Yale  " 
was  the  chief  figure.  This  combination  of  the  older  and  newer  pageantry  is  not 
often  seen.  "  Then  into  the  Bowl  pours  in  procession  of  multitudinous  move 
ment  and  color  the  whole  Pageant  at  once :  all  places  and  times  together,  spirit 
and  substance,  hero  and  jester,  history  and  tradition  and  dream  ..." 

AN  INTERNATIONAL  PAGEANT 

Closely  allied  to  the  "  community  pageant  "  in  spirit —  although  the  com 
munity  in  question  includes  the  English-speaking  nations  —  is  the  celebration 
of  the  three-hundredth  anniversary  of  the  voyage  of  the  Mayflower,  scheduled 
for  the  summer  of  1920.  We  have  noted  international  features  in  the  Lord 
Mayor's  Show,  and  international  participation  in  at  least  one  Parkerian  pag 
eant;3  but  hitherto  there  has  been  no  "international  pageant."  The  one 
planned  for  1920  will  begin  in  England,  and  the  Mayflower  will  repeat  her  trip 
across  the  Atlantic.  The  celebration  will  be  continued  at  Provincetown  and 
Plymouth;  and — if  the  plans  are  carried  out — the  observance  of  the  anni 
versary  will  include  "  all  English-speaking  peoples,"  the  Colonies  joining  the 
United  States  and  the  mother-country  in  honoring  the  Pilgrims. 

An  account  of  the  proposed  plans  from  the  New  York  Times  will  give  some 
idea  of  the  scale  on  which  the  occasion  will  be  celebrated : 

A  nation-wide  celebration  commemorating  the  landing  of  the  Pilgrims  three  hundred 
years  ago  will  mark  the  present  year.  But,  indicating  its  deeper  importance,  is  the  fact  that 
the  United  States  alone  will  not  celebrate  this  important  event  in  her  early  history.  All 
English-speaking  peoples  will  participate,  in  official,  institutional  and  community  exercises, 
and  Great  Britain,  Canada,  and  Australia  will  take  part  in  commemorating  what  the  Pilgrims 
stood  for. 

Beginning  with  the  ist  of  May  in  England,  according  to  the  plans  of  the  Sulgrave  Insti 
tution,  the  activities  will  commence  later  at  the  old  port  of  Leyden,  Holland,  and  then  in  the 
United  States.  Again  the  Mayflower  will  sail  from  England,  following  the  route  of  the  Pil 
grims  of  old,  touching  at  Leyden  and  next  at  Provincetown,  Mass.,  which,  in  August,  will  be 
the  scene  of  celebrations.  Later  Plymouth,  Mass.,  will  hold  the  centre  of  the  stage. 

It  is  expected  that  the  events  marking  this  tercentenary  will  be  distributed  throughout 
all  parts  of  the  United  States,  and  will  touch  all  sections  and  classes  of  people,  from  highest 
officialdom  down  to  little  private  groups  of  people,  social  clubs,  embracing  in  that  downward 
sweep  institutions,  schools,  organizations,  and  societies. 

Boy  Scouts  and  Girl  Scouts  will  naturally  make  a  rush  for  the  Indian  drama,  Indian  games 
and  dances  with  native  songs.  Schools  and  colleges  will  devote  themselves  to  impressive 
pageants.  .  .  . 

Celebrations  in  England  are  being  arranged  by  the  Sulgrave  Institution,  which  takes  its 
name  from  the  ancient  seat  of  the  Washington  family,  Sulgrave  Manor,  North  Hants,  Eng 
land.  At  this  manor  a  special  celebration  will  mark  the  Tercentenary.  The  English  committee 
includes  the  Archbishop  of  Canterbury,  Viscount  Bryce,  Viscount  Grey,  David  Lloyd  George, 
Cardinal  Bourne  and  the  Lord  Mayor  of  London. 


1  Illustrated  in  the  Yale  Alumni  Weekly,  before  referred  to,  p.  20. 

2  Hooker,  loc.  cit.,  p.  14.  3  Cf.  above,  p.  205. 


PAGEANTRY  IN  THE  UNITED  STATES  277 

John  A.  Stewart  is  chairman  of  the  New  York  Board  of  Governors,which  includes,  among 
others,  Brand  Whitlock,  James  M.  Beck  and  Charles  W.  Eliot.  The  Advisory  Committee 
includes  J.  P.  Morgan,  Samuel  Gompers,  the  Rev.  Dr.  William  T.  Manning,  Cardinal  Gibbons, 
Gen.  John  J.  Pershing,  Major  Gen.  Leonard  Wood,  Franklin  K.  Lane,  and  William  Howard 
Taft. 

The  plan  is  a  vast  one,  and  in  order  to  achieve  good  results  patriotic  and  dramatic  societies, 
organizations  and  institutions  everywhere  will  have  to  start  ahead  of  time,  and  put  forth 
serious  effort.  Community  Service  officials  have  already  done  some  work  in  this  connection, 
and  through  the  department  of  pageantry  and  dramatics,  they  plan  to  offer  still  further 
assistance  to  communities  undertaking  celebrations  .  .  .  -1 

Having  examined  various  kinds  of  "  community-drama,"  and  seen  how  it  is 
capable  of  variation  from  the  norm  of  the  Parkerian  work,  let  us,  before  we  con 
clude  this  section,  take  note  of  some  pageants  which  are  not  successful. 

"FROM  KINGDOM  TO  COLONY"  AT  MARBLEHEAD  IN  1912 

From  Kingdom  to  Colony  was  presented  at  Marblehead  (Massachusetts)  6 
and  7  August,  1912;  it  was  given  "  for  the  benefit  of  the  Marblehead  Historical 
Society."  2  This,  though  breaking  one  of  Mr.  Parker's  cardinal  rules —  that  a 
pageant  should  never  be  given  to  make  money  —  is  not  enough  to  take  it  from 
the  field  of  pageantry. 

The  Prologue  opens  with  the  arrival  of  John  and  Anne  Devereux 3  from  Berwick  Castle, 
England.  Scene  i  (1649)  is  laid  in  the  camp  of  the  Naumkeag  Indians,  near  Forest  River. 
Characteristic  Indian  dances  introduce  the  "  drama,"  which  begins  with  scene  ii,  at  the  house 
of  John  Devereux.  Part  ii  consists  of  a  "  Ribbon  Ballet  ";  and  so  the  Prologue  ends. 

Part  iii  begins  with  "Act  i:  time  1774."  The  first  scene  shows  "  The  Beginning  of  the 
Revolutionary  War.  Home  of  Joseph  Devereux.  Miss  Helen  True  will  sing  '  Flow  Gently, 
Sweet  Alton,'  and  '  The  Last  Rose  of  Summer.' " 4  After  the  cast  of  characters  comes  the 
announcement  that  "  Mrs.  R.  M.  Cook  as  '  The  Spirit  of  the  Night,'  will  sing  '  The  Fairy 
Lake.'  (By  courtesy  of  White,  Smith  Co.,  Publishers.)." 

Part  iv  is  "The  Old  Time  Darky  Jubilee";  Part  v:  "Actn.  Scene  i.  Dorothy's  visit 
to  Nurse  Lecrow's  cottage.  Scene  2.  Meeting  of  Dorothy  and  Cornet  Southern  in  the  woods." 
Part  vi  consists  of  the  Dance  of  the  Seven  Star  Sisters,5  and  with  Part  vii  we  return  to  the 
play:  "Act  III.  Scene  i.  Home  of  Mistress  Horton.  Wedding  of  Mary  Broughton  and 


1  New  York  Times,  Sunday,  7  March,  1920,  (editorial  section,  p.  4).    Professor  George 
P.  Baker,  of  Harvard  University,  has  been  commissioned  to  write  the  book  on  which  the 
Pilgrim  Tercentenary  Pageant  will  be  based.     (Harvard  Alumni  Bulletin  for  26   February, 
1920,  p.  499.)     This  pageant  will  be  given  at  Plymouth  in  1921.    (This  is  not  the  celebra 
tion  planned  for  the  summer  of  1920,  which  commemorates  rather  the  voyage  of  the  May 
flower,  and  the  coming  of  the  Pilgrims,  than  the  settlement  of  Plymouth.) 

2  My  authority  for  the  following  remarks  is  the  program  of  the  "pageant"  which  is  in 
the  Harvard  Library:    "  The  Historical  Pageant  and  Drama  '  From  Kingdom  to  Colony.' 
Book  by  Mary  Devereux;    dramatized  by  Mrs.  Marie  J.  Morgan;    produced   by  George 
Lowell  Tracy." 

3  Qy.:   ancestors  of  the  authoress  of  the  book  ?         4  Cf.  below,  p.  280. 
6  Allegory  or  symbolism  suggesting  vaudeville... 


278  ENGLISH  PAGEANTRY 

Jack  Devereux.  Dancing  of  Minuet  .  .  .  Scene  2.  Abduction  of  Dorothy  by  Sou  thorn. 
Marriage  of  Dorothy  to  Southern  by  strategy.  Scene  3.  Arrest  of  Southorn  as  English  Spy 
at  Grey  Horse  Inn  (just  inside  the  American  Lines).  Scene  4.  Arrival  of  Dorothy  and  Mary 
at  Grey  Horse  Inn.  Dorothy  pleads  with  Gen.  Washington  for  Sou  thorn's  life.  Scene  5. 
Dorothy  and  Southern's  departure  for  England. 

Part  viii.  Flower  Festival  and  Maypole  Dance.1  The  Marriage  of  Cornet  Southorn 
and  Dorothy.  General  Washington  and  his  Staff.  The  Floats.  "  Yankee  Doodle,"  "  Signing 
the  Declaration  of  Independence,"  "  The  Thirteen  Original  States." 

"  The  chorus  will  sing  '  Ode  on  Science,'  '  Revolutionary  Tea,'  '  The  Ship  of  State,'  .  .  . 
and  '  Hail  Columbia.'  " 

This  "  pageant  "  has,  apparently,  several  different  elements.2  Dancing  plays 
a  considerable  part  in  it,3  as  does  music.  A  thread  of  connected  story  seems  to 
run  through  the  performance,  in  spite  of  numerous  interruptions  (without  which 
it  would  be  considered  a  melodramatic  "  costume-play  "4)  telling  the  story  of  a 
group  of  figures.  At  all  events,  the  place  is  not  the  hero; 5  it  is  not  clear  from 
the  program  just  what  part  Marblehead  plays  in  all  this;  it  seems  rather  to  be 
a  pageant  of  the  Devereux  family !  There  is  a  certain  amount  of  —  can  one  say 
fantasy  ?  —  in  the  persons  of  "  The  Spirit  of  Night  "  and  the  "  Seven  Star 
Sisters  ";  they  seem  to  have  no  connection  with  what  has  gone  before  or  what 
comes  after.  There  is  symbolism,  or  personification,  in  the  Thirteen  States; 
and  history  in  the  Declaration  of  Independence.  These  are  surely  pageantic, 
and  it  is,  perhaps,  with  these  in  mind  that  the  authors  added  pageant  to  the 
drama  of  their  title.6 

As  we  have  already  seen  in  the  case  of  Taunton,  the  history  in  a  pageant  need 
not  be  a  part  of  the  actual  town  history,  so  long  as  the  town  is  affected  by  it.7 
This  is  clear  enough  in  those  scenes  which  deal  with  the  departure  of  the  colonists 
before  the  town  was  founded  —  examples  of  which  are  seen  in  the  Pageants  of 


1  Here,  as  during  the  Minuet,  the  chorus  sang. 

2  It  is  always  difficult  to  judge  a  performance  of  this  kind  from  the  program. 

3  Cf .  e.  g.  Parts  ii,  iv,  vi,  and  viii. 

4  Which  appears  to  be  the  dramatization  of  an  historical  novel.    Surely  pageant  and 
drama  are  growing  close  together! 

5  Cf.  below,  p.  291. 

6  I  should,  perhaps,  add  that  the  program  does  not  state  how  much  of  the  "  drama  "  was 
pantomime  —  if  any  was.     The  program  is  disfigured  with  advertisements  —  a  necessary 
accompaniment  of  the  commercial  spirit  which  "  benefits  "  usually  have. 

As  Norristown  gave  history  in  a  procession,  so  here  we  find  elements  of  the  carnival  on 
the  stage.  The  program  does  not  state  whether  this  performance  took  place  indoors  or  out; 
but  that  makes  no  difference  as  far  as  we  are  concerned.  Plenty  of  pageants  have  been  given 
under  roofs  —  cf.,  e.g.,  that  of  Marietta  in  1888  and  that  of  Keene  in  1913. 

7  The  tie  between  the  history  portrayed  and  the  place  of  its  portrayal  is  almost  too  slight 
in  the  case  of  the  Irish  Pageant  at  New  York  to  give  the  performance  the  right  to  the  name  of 
pageant.    Yet  the  material  thereof  is  history;   and  as  the  scenes  given  extended  over  three 
centuries,  one  cannot  well  call  the  production  a  "  chronicle-play." 


PAGEANTRY  IN  THE  UNITED  STATES  279 

Peterborough,  and  Lancaster  (Massachusetts).  This  seems  to  be  an  American 
development;  in  England  pageant-masters  confine  themselves  more  closely  to 
scenes  which  took  place  in  the  town  itself.1 

If  the  historian  may  become  critic,  he  must  maintain  that  this  "  pageant," 
From  Kingdom  to  Colony,  is  not  a  pageant  in  the  strict  sense  of  the  word,  because 
it  does  not  deal  with  Marblehead  history  first  and  foremost;  because  the  his 
torical  characters  introduced  are  subordinated  to  fiction;  because  the  "  inter 
ludes  "  are  interruptions  which  tend  to  destroy  the  unity  of  the  work.2  Criti 
cisms  have  been  made  regarding  anachronisms  and  other  inaccuracies  in  the 
costuming  and  production  of  this  affair;  we  have  noted  the  importance  of  ac 
curacy  in  historical  pageants,  in  order  to  keep  the  confidence  of  the  audience, 
and  the  educational  value  of  these  productions. 

"  How  NOT  TO  Do  IT  " 

"  An  approach  to  the  ideal  pageant  was  given  in  a  humble  way  at  Warwick, 
Massachusetts,  (1912).  To  celebrate  the  i5oth  anniversary  the  town  appro 
priated  ten  dollars;  the  townspeople  did  the  rest  and  returned  two  dollars  to 
the  treasury."  3  The  "  ideal  "  conditions  of  which  Mr.  Davol  speaks  seem  to 
be  confined  to  the  financial,  and  perhaps  the  aesthetic,  side  —  the  educational 
left  much  to  be  desired. 

"  Funeral  Honors  for  General  Washington  before  the  Continental  Troops  " 
furnished  a  scene  in  the  Pageant  of  Oxford  (Massachusetts) ; 4  and  one  wonders 
when  any  town  in  the  State  received  the  body  of  the  late  President.  Such  in 
accuracies  as  these  are  common  enough  in  American  pageants,  which  are  never 
theless  hailed  as  a  great  educational  force.  While  some  undoubtedly  are  edu 
cational,  it  must  be  confessed  that  many  more  have  that  aim;  too  often,  how 
ever,  well-meaning  but  busy  school-teachers  or  church- workers  plan  shows  like 
that  described  in  the  opening  chapters  of  Booth  Tarkington's  Penrod,  which  do 
more  harm  than  good. 

In  this  connection,  we  may  note  a  letter  by  Mr.  J.  C.  L.  Clark,  dated  at 
Lancaster  (Massachusetts)  on  7  September,  and  printed  in  the  Boston  Herald 
for  12  September,  1912 : 

From  press  notices  I  learn  that  the  coming  historical  pageant  at  Warwick,  Massachusetts, 
is  to  include  a  scene  entitled  "  The  naming  of  Mount  Grace."  This  episode  is  to  represent 


1  Though  some,  as  has  been  shown,  allow  themselves  more  latitude  in  this  matter. 

2  Were  the  Devereux  characters  historically  important  in  early  Marblehead,  the  above 
criticism  of  the  "  pageant  "  would  still  hold,  because  they  are  not  shown  in  connection  with 
the  development  of  the  town.    The  pageant-writer  ought  not  to  produce  an  episode  dealing 
with  the  private  affairs  of  any  historical  personage  he  may  wish  to  represent.    This  should  be 
fairly  obvious. 

3  Davol,  pp.  37  f.    A  scene  from  the  pageant  is  given,  ibid.,  p.  89. 

4  Illustrated  in  Davol.  p,  120. 


280  ENGLISH  PAGEANTRY 

"  the  burial  of  Grace  Rowlandson,  who,  with  her  mother,  has  been  captured  by  the  Indians. 
The  child  dies  on  the  march  and  is  carried  for  two  days  in  her  mother's  arms,"  etc.  In  view 
of  the  publicity  of  the  matter,  will  you  allow  me  to  point  out  that  this  derivation  of  the  name 
"  Mount  Grace,"  and,  indeed,  the  whole  incident  so  far  as  Warwick  is  concerned,  is  so  utterly 
baseless  that  it  is  hard  to  see  how  such  a  belief  originated  ?  It  is  true  that  when  Mrs.  Row 
landson  was  taken  captive  at  Lancaster,  February  10,  1676,  she  carried  in  her  arms  her  little 
daughter,  a  child  of  six,  who  had  been  wounded  in  the  fighting.  The  child's  name  was  not 
Grace,  but  Sarah.  It  is  also  true  that  eight  days  later,  February  18,  the  child  died.  But  this  * 
occurred  while  the  Indians  and  their  prisoners  were  camped  at  Menameset,  or  Wenimesset, 
as  Mrs.  Rowlandson  calls  it.  This  "  Wenimesset  "  was  a  stronghold  of  the  savages  in  what 
is  now  the  town  of  New  Braintree.  Far  from  being  permitted  to  carry  away  the  body  of  her 
child,  the  distracted  mother  in  her  wonderfully  vivid  and  pathetic  "  Narrative  "  —  the  sole 
authority  for  the  details  of  her  captivity  —  tells  of  its  burial  near  the  spot  where  it  died: 
"  I  went  to  take  up  my  dead  child  in  my  arms  to  carry  it  with  me,  but  they  bid  me  let  it 
alone;  there  was  no  resisting,  but  go  I  must  and  leave  it.  When  I  had  been  at  my  master's 
wigwam,  I  took  the  first  opportunity  I  could  get,  to  go  look  after  my  dead  child;  when  I 
came  I  askt  them  what  they  had  done  with  it  ?  Then  they  told  me  it  was  upon  the  hill; 
then  they  went  and  shewed  me  where  it  was,  where  I  saw  the  ground  was  newly  digged,  and 
there  they  told  me  they  had  buried  it."  It  was  more  than  a  fortnight  later,  between  March  3 
and  5,  that  the  party  passed  through  the  southwestern  part  of  the  present  town  of  Warwick. 
In  short,  "  Grace  "  Rowlandson  never  existed;  she  is  simply  an  eponymous  heroine,  and  as 
mythical  as  Romulus  .  .  . 

A  correspondent  of  mine  who  has  made  a  study  of  the  whole  subject  of  pageants  and  folk- 
festivals  declared  that  a  whole  book  might  be  written  on  how  not  to  give  pageants.  Some 
instances  of  how  not  to  do  it  occurred  in  a  recent  much-lauded  spectacle,  given  under  the 
dignified  auspices  of  an  historical  society,  in  which  a  Puritan  divine  of  (I  believe)  the  year 
1649  appeared  in  a  stove-pipe  hat,  a  negro  house-servant  of  the  Revolutionary  period  wore 
modern  trousers  and  the  duck  jacket  affected  by  barbers  and  bar-tenders  of  the  present  day, 
and  a  fair  maiden  sang  "  The  Last  Rose  of  Summer  "  in  1774,  five  years  before  Tom  Moore, 
the  author  of  that  song,  was  born ! 

But  bad  as  are  anachronisms  like  these,  the  case  is  far  worse  when  the  imaginings  of  an 
"  adventurer  in  historic  disquisition,"  as  H.  S.  Nourse  scoffingly  termed  the  inventor  of  the 
Mount  Hope  story,  are  actually  made  the  basis  of  a  dramatic  representation  before  the  eyes 
of  the  people.  And  this  because  a  thing  so  presented  takes  on  an  added  reality  forever,  and 
because  the  great  value  of  popular  pageantry  is  educational  —  the  imparting  of  a  knowledge 
of,  and  an  enthusiasm  for,  the  noble  past  of  one's  home  region.  If  the  promoters  of  the  War 
wick  Pageant  regard  their  responsibilities,  this  episode  of  "  The  Naming  of  Mt.  Hope  "  will 
be  dropped  in  toto  from  their  program.  One  foresees  in  the  near  future  a  time  when  serious 
lovers  of  history  may  well  sigh,  O  Pageantry,  what  crimes  are  committed  in  thy  name ! 

One  wonders  sometimes  if  modern  pageants  in  America  are  fostered  in  a 
spirit  of  true  respect  for  history.  Too  often,  it  may  be  feared,  the  carnival  spirit 
enters  into  them  —  a  spirit,  by  the  way,  perfectly  legitimate  if  it  doeS  not  hide 
itself  behind  history,  or  behind  an  incompetent  pageant-master  who  has  not  had 
Wolf's  "  scientific  teaching,"  l  and  is  easily  led  from  the  path  of  accuracy.  If 

1  "  '  I  call  all  teaching  scientific,'  says  Wolf,  the  critic  of  Homer,  '  which  is  systematically 
laid  out  and  followed  up  to  its  original  sources  . . .'  "  [cited  by  Arnold,  in  Literature  and  Science 
(Discourses  in  America,  ii.)]. 


PAGEANTRY  IN  THE  UNITED  STATES  281 

this  tendency  toward  the  presentation  of  pseudo-history  continues,  the  "  com 
munity  drama  "  in  America  will  cease  to  be  an  educational  force;  and  no  com 
munity  can  be  tied  together  or  inspired  to  progress  and  civic  betterment  by  the 
production  of  a  carnival. 

Many  pageant-masters  hold  that  folk-lore  material  and  local  legends  may 
be  admitted  as  integral  parts  of  a  pageant.  The  figures  of  Gogmagog  and  Corin- 
eus,  of  Ebrauc  and  Bremmius  and  Gurgunt,  show  that  this  was  the  case  in  the 
past;  but  those  who  emphasize  the  importance  of  the  educational  appeal  in 
pageantry  maintain  that  what  is  real  should  be  clearly  separated  from  the 
legendary. 

§  3.    THE  "  FESTIVAL  " 

Beside  the  community-drama,  various  forms  of  which  we  have  mentioned, 
lies  a  vast  body  of  so-called  pageantry  which  does  not  occupy  the  community 
as  a  whole,  and  yet  which  is  given  under  conditions  more  or  less  pageantic.  To 
this  has  been  given  the  name  of  "  festival."  The  line  between  the  two  is  some 
times  hard  to  draw;  although  dealing  with  historical  material,  both  the  Irish 
Pageant  of  New  York  and  the  Hollis  Hall  Pageant  at  Harvard  had,  as  we  have 
seen,  an  element  of  restricted  interest  characteristic  of  the  "  festival."  The 
celebration  of  the  three-hundredth  anniversary  of  the  Charterhouse  School,  in 
1911,  furnishes —  as  we  have  pointed  out —  an  English  parallel  to  the  pageant 
of  Hollis  Hall.1 

NORMAL  SCHOOL  PAGEANT  AT  BOSTON,  1908 

There  is  a  kind  of  pageant  which  deals  with  the  history  of  an  art  or  science 
rather  than  of  a  community;  one  of  the  best —  as  well  as  the  earliest —  ex 
amples  of  this  is  the  Pageant  of  Education,  with  which  the  State  Normal  School 
dedicated  its  new  building  at  Boston  in  June,  1908.  This  was,  in  no  sense,  a 
civic  or  community  affair,  but  rather  the  production  of  a  limited  circle;  an 
English  —  or  more  strictly,  a  Scottish  —  parallel  may  be  found  in  Professor 
Geddes's  Masque  of  Learning  which  we  have  already  discussed.2 


1  The  Oxford  Pageant  of  1907  had  a  wider  appeal;   that  at  Oxford  in  1914,  was  a  "  festi 
val."    (See  above,  pp.  203,  n.  i,  and  227.) 

2  See  above,  p.  226  f.    For  three  illustrations,  and  mention,  of  this  Boston  festival,  see 
Bates  and  Orr,  Pageants  and  Pageantry,  pp.  1 7,  etc.    A  picture  may  also  be  found  in  Davol, 
p.  79. 

Mrs.  Dallin,  the  author  of  this  festival,  writes  me  that  Mr.  Percival  Chubb  was  respon 
sible  for  interesting  the  Twentieth  Century  Club  of  Boston  in  pageants,  and  through  it,  in 
directly,  the  committee  at  the  Normal  School  who  were  charged  with  providing  some  enter 
tainment  to  present  at  the  dedication  of  the  new  building. 

"  To  complete  this  record,  it  might  be  stated  that  the  Pageant  of  Education  was  actually 
undertaken  before  American  pageantry  began  to  be  influenced  by  the  English  historical  pag- 


282  ENGLISH  PAGEANTRY 

Mrs.  Colonna  Murray  Dallin  was  entrusted  with  the  task  of  planning  "  some 
sort  of  procession  or  tableaux  suitable  to  present  on  such  an  occasion.  My  first 
thought,"  she  writes,1  "  was  to  try  to  represent  the  fresco  of  '  Education '  by 
Puvis  de  Chavannes  at  the  Sorbonne,  and  let  the  figures  in  it  form  a  procession; 
but  on  examining  the  picture,  that  seemed,  of  course,  impracticable  without  too 
great  modifications  of  costume,  etc.  Then  the  idea  came  to  me,  as  the  air  was 
full  of  echoes  of  English  pageants,  that  the  history  of  education  might  be  pre 
sented  in  pageant  form." 

Technically,  this  festival  had  a  processional  element,  for  the  characters  in 
each  episode  marched  across  the  improvised  stage  in  the  courtyard  of  the  new 
building;  the  procession  was  broken  by  "  interludes  "  -  dances,  rites,  and 
choruses  —  the  purpose  of  which  was  "  not  only  to  add  rhythm,  charm,  and 
variety  to  the  spectacle,  but  to  mark  by  forcible  contrasts  the  changes  in  ideals 
from  era  to  era.  They  aim  to  suggest  that  education  is  development  not  only 
of  the  intellect  but  of  the  emotional  nature  and  of  the  body."  2 

Historical  characters,  from  Moses  to  Pestalozzi,  represented  the  different 
epochs ;  such  symbolical  characters  as  Alma  Mater  and  the  Foreign  and  Ameri 
can  Universities,  joined  allegorical  figures  —  Knowledge,  Inspiration,  Truth, 
Science,  History,  Learning,  Peace,  Prosperity,  and  Happiness.  The  Vernacular, 
followed  by  Shakspere,  Dante,  Racine,  Goethe,  and  Cervantes;  the  Classics, 


eant  —  from  which  type  this  particular  pageant  radically  differed."  Am.  Pag.  Assoc.,  Bulletin 
22,  15  July,  1915.  Miss  Lotta  A.  Clark  was  "  Chairman  of  the  Festival  Committee,"  and 
Mrs.  Dallin,  "  Designer  of  the  Pageant,"  on  this  occasion,  (ibid). 

1  In  a  letter,  dated  3  August,  1912.    She  continued:    "  This  idea  was  gradually  worked 
out,  and  the  process  was  very  delightful.    Naturally,  in  trying  to  give  the  broadest  idea  of 
educational  development,  the  song,  the  dance,  and  the  religious  rite  wove  themselves  into 
the  scheme. 

"  Then,  too,  after  once  dividing  the  pageant  into  episodes,  the  interludes  were  needed  to 
give  contrasts  and  reliefs;  and  the  songs,  rites,  and  dances  were  found  to  express  certain 
phases  of  life  and  thought  more  effectively  than  any  other  element  that  could  be  used  in 
pageantry. 

"  I  had  never  seen  a  pageant  anywhere,  so  that  the  structure  of  the  Normal  School  pag 
eant  was  original,  in  a  way."  Mrs.  Dallin  attempted  "  to  represent  the  development  of  an 
idea  from  its  earliest  expression  through  its  manifold  changes  throughout  the  ages.  This  I 
tried,"  she  continues,  "  to  present  in  both  the  Pageant  of  Education  at  Boston,  and  the  Pag 
eant  of  Progress,  presented  at  Lawrence." 

Regarding  symbolism,  Mrs.  Dallin  says:  "  I  was  forced  into  this  in  the  work  on  the  Pag 
eant  of  Education,  because  I  was  obliged  to  use  women  for  members  of  various  groups.  For 
instance,  instead  of  representing  Scholasticism  and  Theology  in  the  Middle  Ages  by  repre 
sentative  schoolmen  and  theologians,  I  used  symbolic  figures  ..."  It  is  interesting  to  note 
that  symbolism  and  allegory  grew  spontaneously  in  Mrs.  Dallin's  pageants,  though  they  are 
common  enough  in  the  earlier  shows.  It  should  be  remarked,  however,  that  a  considerable 
number  of  men  took  part  in  the  festival,  and  that  historical  figures  appeared  as  well  as  the 
symbolical. 

2  Cited  from  the  program  of  the  "  festival." 


PAGEANTRY  IN  THE  UNITED  STATES  283 

accompanied  by  Erasmus  and  Melancthon;  the  Seven  Liberal  Arts,1  adapted 
from  the  frescoes  of  Simon  Memmi  in  the  Spanish  Chapel  of  Santa  Maria; 
Scholasticism,  Theology,  Romance,  Poetry,  and  Music  appeared.  There  were 
also  types,  such  as  the  Dame-school  teacher;  Knight,  Lady,  and  Page,  repre 
senting  Chivalry;  and  troubadours,  representing  Minstrelsy.  One  symbolical 
group  consisted  of  wood-nymphs,  whose  dance  —  based  on  regular  kindergarten 
games  —  was  meant  to  suggest  the  transition  from  autumn  to  spring  —  a  school 
year. 

OTHER  PAGEANTS  or  LIMITED  APPEAL 

This  suggests,  both  in  spirit  and  technique,  the  masque,  rather  than  the  pag 
eant.  Dancing  occupied  a  large  part  of  the  attention  of  the  audience;  and  the 
festival  was  given  by  a  limited  group.  A  similar  entertainment  —  Mr.  Thomas 
Wood  Stevens 's  Pageant  of  the  Italian  Renaissance,  which  took  place  at  Chicago, 
26  and  27  January,  1909  —  may  be  noted  as  another  example  of  a  group  which 
soon  became  numerous.  This  "  festival  "  has  been  characterized  as  "an  un 
usual  pageant,  performed  by  the  art  students  in  Statuary  Hall  of  the  Art  Mu 
seum;  and  although  localized  to  the  backgrounds  of  Italian  architecture  there 
provided,  it  nevertheless  clearly  displayed  community  development.  It  is  one 
of  the  finest  pieces  of  pageant  writing  yet  accomplished  in  America  or  England, 
and  is  perhaps  the  first  of  a  type  that  might  be  termed  '  Epic  Pageants  '  -  al 
though  so  far  as  it  dealt  with  periods  of  civilization  or  culture,  it  became  related 
to  the  Pageant  of  Education,  of  which  —  because  of  this  added  epic  quality  —  it 
was  a  more  literary  development." 

The  Cayuga  Indian  Feast,  given  on  the  north  shore  of  Beebe  Lake  "  at  sun 
set  in  the  time  of  Strawberries,  May  27,  1914,"  seems  to  have  been  a  festival; 
indeed,  in  the  descriptive  pamphlet 3  it  shares  the  name  with  that  of  pageant. 
Various  manners  and  customs  of  the  Indians  were  illustrated;  the  action  was 
in  pantomime;  and  while  the  scenes  were  based  on  historical  events  (the  spring 
of  1737  is  the  time  chosen)  the  show  is  at  best  one  episode  in  a  larger  pageant 
which  was  not  given.  What  the  relation  of  the  performers  to  the  community 
may  have  been,  it  is  impossible  to  tell  from  the  pamphlet. 

The  bulletins  of  the  American  Pageant  Association  contain  mention  of  many 
of  these  "  Pageants  of  Ideas,"  and  it  is  not  necessary  here  to  dwell  on  them. 
Suffice  it  to  say  that,  as  they  are  usually  given  by  a  group  in  a  community,  rather 
than  by  the  community  as  a  whole,  they  fall  into  the  class  of  "  festivals." 

Technically  the  "  festival  "  is  nearer  the  masque  than  the  drama;  it  makes 
its  appeal  through  the  symbolical  dance,  rather  than  through  the  historical  epi 
sode.  This  is,  indeed,  not  unexpected;  for  as  soon  as  we  get  drama,  the  symbol- 


1  Already  found  more  than  once  in  early  "  royal-entries  "  and  the  Lord  Mayor's  Show. 

2  American  Pageant  Association,  Bulletin  12,  15  December,  1914. 

3  Which  is  preserved  in  the  Harvard  Library. 


284  ENGLISH  PAGEANTRY 

ism  tends  to  fade,  as  it  did  from  the  morality-play,  the  more  dramatic  they  be 
came.  As  long  as  pageant-masters  put  an  emphasis  on  allegory  and  symbolism, 
they  are  bound  to  see  that  the  shows  do  not  become  so  dramatic  that  these 
qualities  are  imperilled. 

Such  performances  as  the  symbolical  Pageant  of  the  Year  given  by  the  students 
of  the  Brookline  (Massachusetts)  High  School  are  reminiscent  of  Christina 
Rossetti's  Pageant  of  the  Months  which  we  have  already  considered. 

A  somewhat  similar  production  is  described  in  the  Boston  Herald,1  under  the 
heading:  "  150  Women  to  Take  Part  in  Cambridge  Pageant —  Y.  W.  C.  A.  to 
Give  '  Festival  of  the  Seasons  '  on  Thursday  Night  —  Spectacle  will  Resemble 
1  Caliban.'  " 

A  novelty,  entitled  "  The  Festival  of  the  Seasons,"  is  to  be  given  by  the  Cambridge  Young 
Women's  Christian  Association  at  the  association  grounds  Thursday  evening,  which  will  re 
semble  in  some  respects  the  famous  "  Caliban." 

Over  150  women  will  take  part  in  the  performance,  most  of  them  members  of  the  associ 
ation  .  .  .  The  production  starts  with  old  Mother  Earth  sending  out  two  babies,  to  typify 
life.  Spring  is  the  first  episode,  which  starts  with  homage  to  Isis  .  .  .  Miss  Ethel  Vincent  and 
Miss  Ada  Rahn  represent  the  old  year  being  banished.  Then  comes  the  awakening  of  Spring. 
The  powers  of  the  earth  and  sky  are  called  upon  to  arouse  the  sleeping  flowers.  Thus  the 
pageant  starts,  with  singing,  dancing,  verse,  and  tableaux,  one  season  making  way  for  another. 
Youths  and  lassies,  the  May  Queen,  the  villagers,  the  foresters,  Maypole  dancers,  lords  and 
ladies,  Little  Boy  Blue,  Mother  Goose,  and  April  Fool  are  represented  in  this  first  season. 

Summer  brings  the  pantomime  of  the  Sun  Goddess,  the  Japanese  dancers,  the  philosophers, 
the  Sleeping  Beauty,  the  Flowers  and  Bees,  the  Haymakers,  and  patriotic  features.  Autumn 
brings  forth  Grain  and  Fruit  Bearers,  Autumn  Leaves,  the  Flight  of  the  Birds,  the  Dance  of 
the  Winds,  and  the  Whirlwind  Pantomime.  Winter  has  its  Snow  Flakes,  its  Skaters,  Christmas 
with  Santa  Claus,  Red  Cross  Demonstration,  and  Carol  Singers  .  .  . 

This  affair  will  close  the  entertainment  activities  of  the  association  for  the  season. 

This,  like  the  other  shows  we  have  just  mentioned,  is  rather  a  masque  than 
a  true  pageant ;  it  includes  many  characters  which  we  have  seen  at  Lichfield  and 
Knutsford,  but  these  alone  cannot  bring  it  into  pageantry.  There  is,  apparently, 
enough  unity  to  keep  it  from  being  a  mere  carnival;  but  it  is  given  by  a  limited 
group  in  the  community,  and  must  have  appealed  to  a  limited  audience. 

THE  WOMEN-SUFFRAGE  MASQUE  AT  WASHINGTON,  3  MARCH,  1913 

What  should  have  been  called  a  "  masque,"  given  by  a  group  in  the  commun 
ity  as  propaganda  for  women-suffrage,  took  place  on  the  steps  of  the  Treasury 
Building  at  Washington  on  3  March,  1913.  The  plan  of  this  entertainment  was 
announced  as  follows: 2 


1  Boston  Herald  for  Monday,  2  June,  1919,  p.  6. 

2  I  quote  from  the  Boston  Transcript  of  6  February,  1913:   an  eye-witness  of  the  event 
tells  me  that  it  is  a  very  good  account  of  what  happened. 

For  illustrations  of  this  masque,  see  Davol,  pp.  29,  and  61. 


PAGEANTRY  IN  THE  UNITED  STATES  285 

.  .  .  The  Show  on  the  Treasury  steps  is  technically  an  "  allegory,"  while  the  rest  of  the 
demonstration  is  technically  called  the  "  pageant-procession."  The  story  told  in  the  proces 
sion  itself  will  show  the  actualities  of  much  that  woman  has  struggled  against  and  is  still 
struggling  to  achieve,  as  well  as  what  she  has  attained,  while  the  ceremonies  at  the  Treasury 
Building  will  symbolize  the  ideals  toward  which  both  men  and  women  have  been  struggling  . . . 

The  southern  steps  of  the  Treasury  Building  are  a  flight  mounting  some  twenty  or  thirty 
feet  and  broken  by  a  landing,  easily  fifty  feet  square,  on  which  the  evolutions  of  the  characters 
in  the  tableaux  will  take  place.  Surmounting  the  steps  are  the  lofty  columns  of  the  Treasury 
Building.  The  audience  will  be  seated  on  stands  erected  on  the  little  park  about  the  Sherman 
statue  just  across  the  street  from  the  steps.  Between  the  audience  and  the  steps  the  pageant 
will  pass. 

When  the  pageant  starts,  a  mile  or  two  away  down  Pennsylvania  avenue,  a  trumpet  will 
be  sounded,  and  this  note  will  be  taken  up  at  intervals  along  the  line  of  march  until  it  reaches 
the  two  trumpeters  dressed  in  purple  and  gold  who  are  stationed  on  the  plaza  of  the  Treasury 
Building.  These  trumpeters  announce  in  a  fanfare  that  the  ceremonies  are  about  to  begin, 
and  immediately,  while  the  band  plays  The  Star-Spangled  Banner,  the  commanding  figure  of 
Columbia  emerges  from  behind  the  shadows  of  the  great  columns.  On  each  side  of  the 
great  platforms  which  flank  the  steps  an  American  flag  is  unfurled.  Columbia  slowly  descends 
and  takes  a  stand  on  the  plaza  below.  The  allegory  then  proceeds  as  described  by  Miss 
MacKaye,  as  follows: 

Again  the  trumpets  are  sounded,  and  Columbia,  turning  toward  the  massive  columns  from 
which  she  has  just  emerged  summons  to  her  presence  the  first  of  her  followers,  Justice.  Obey 
ing  this  command  Justice  and  her  attendants  appear  in  robes  of  purple  and  violet  lightened 
by  the  faintest  touch  of  blue.  To  the  majestic  strains  of  the  Pilgrims'  Chorus  they  formally 
descend  and  make  their  obeisance  to  Columbia. 

Columbia  then  turns  again  and  summons  Charity.  The  serene  and  benignant  strains  of 
Handel's  Largo  announce  her  coming.  Gently  and  nobly  she  descends  the  steps,  preceded  by 
two  little  children  who  strew  her  path  with  roses.  Following  her  closely  comes  a  group  of 
youths  and  maidens  in  tender  grays  and  blues,  and,  enfolding  some  of  these  in  her  simple 
mantle  of  deeper  blue,  Charity  takes  her  place. 

With  the  crashing  of  cymbals  and  brass  in  the  Triumph  March  from  A'ida,  a  flying  figure 
in  glowing  crimson  appears  —  Liberty  —  unfettered  and  free.  She  poises  for  an  instant  at 
the  top  of  the  steps  and  then,  with  swift  running  feet  she  sweeps  on  to  the  plaza  below,  beckon 
ing  her  attendants  to  follow  her.  Thereupon  a  company  of  gay  and  brave  young  girls  troop 
out  from  between  the  columns  and  with  floating  scarfs  of  crimson,  rose,  and  gold,  weave  a 
glorious  dance  of  joy  and  freedom. 

This  last  tumultuous  and  breathless  entrance  is  followed  by  a  moment's  silence,  to  be 
broken  by  the  clear  note  of  the  horn  —  the  only  sound  to  intrude  upon  the  stillness.  Presently, 
to  soft  and  tender  strains  of  music,  a  serene  and  beautiful  figure  in  white  and  silver  appears 
bearing  in  her  hands  her  emblem,  the  Dove  of  Peace.  Halting  at  the  head  of  the  steps,  she 
releases  the  bird  and  watches  its  flight  as  it  mounts  to  the  heavens.  Then  she  descends  — 
always  to  the  strains  of  softest  music  —  surrounded  by  another  group  of  girls  with  golden 
cornucopia,  laden  with  glowing  fruits  —  Plenty  follows  Peace.  And  now  it  is  Columbia  who 
makes  obeisance,  and,  with  reverent  gesture,  welcomes  this  beneficent  and  longed-for  follower 
to  her  place. 

One  more  figure  is  still  to  come  —  Hope,  bearing  the  promise  of  the  future.  Peering  shyly 
from  behind  the  columns,  her  gauzy  veil  falling  between  her  and  the  world,  a  tender  girl  looks 
forth.  With  increasing  courage  she  ventures  out,  only  to  disappear  again  and  reappear,  like 
a  bright  spirit.  At  last  she  boldly  leaves  her  hiding  place  and  springs  lightly  down  the  steps, 


286  ENGLISH  PAGEANTRY 

followed  by  a  group  of  laughing  girls,  in  softest  greens  and  rainbow  colors.  Together  they 
chase  and  elude  each  other,  and  swing  and  sway  until  their  dance  is  broken  in  upon  by  a  joy 
ous  troop  of  children  —  Hope's  dear  reliance.  Following  her  radiant  figure  the  young  girls 
weave  the  mazes  of  their  dance,  while  the  happy  children  toss  their  golden  and  iridescent 
balls,  till  they,  too,  join  the  others  in  the  final  tableau  to  greet  the  great  procession,  which 
with  band  and  banner,  sweeps  by  triumphant. 

"  A  PAGEANT  OF  PROGRESS  " 

A  Pageant  of  Progress,  which  celebrated  the  seventy-fifth  anniversary  of 
Mount  Holyoke  College,  represented  the  liberal  arts  and  sciences.  Each  depart 
ment  of  the  college  produced  a  section  of  the  show.1  With  some  historical  char 
acters,  there  were  many  from  fiction,  and  much  personification  —  Radium, 
Helium,  the  Telegraph,  Flora  —  and  the  emphasis  was  not  primarily  on  history. 
Like  the  Hollis  Hall  Pageant,  this  was  given  by  one  sex; z  but  the  material  was 
not  taken  directly  from  the  history  of  the  college,  and  the  technique  was  more 
closely  related  to  that  of  the  masque.  Thus  this  falls  under  the  head  of  "  festival." 

On  the  borderland  we  find  many  shows  which  resemble  the  pageantic  festival 
somewhat,  and  yet,  for  one  reason  or  another,  are  outside  the  pale.  The  revels 
at  Merry  Mount  show  the  germ  of  pageantry  which  may  be  found  in  almost 
every  folk-celebration ;  the  tournament  at  Philadelphia  during  the  Revolution,3 
together  with  the  tournaments  of  the  Southern  States  before  the  war,4  reflect  the 
same  germ  among  a  higher  class.  The  Bohemian  Club  "  Jinks,"  which  began  in 
1878,  are  invented  and  performed  by  a  limited  circle  for  audiences  restricted  by 
privilege; 8  as  Mr.  Garnett  says:  "  Although  the  drama  and  the  opera  were  the 
progenitors  of  the  Bohemian  grove-play,  in  its  ultimate  form  it  bears  a  greater 
resemblance  to  the  masque  than  to  either  ...  It  may  be  safely  said  that  no  con 
structor  of  a  midsummer  high  jinks,  no  writer  of  a  grove-play,  ever  used  a  masque 
for  his  model.  We  find,  therefore,  in  California,  in  the  first  years  of  the  twentieth 
century,  an  independent  occurrence  of  the  masque  type  brought  about  by  an 
entirely  different  set  of  conditions  from  those  that  produced  the  original  ex 
amples  of  this  genre  nearly  four  hundred  years  earlier."  6 

1  This  occasion  is  described  in  an  illustrated  article  by  Elizabeth  C.  Porter  in  the  Outlook 
for  23  November,  1912,  pp.  653  f. 

2  A  much  larger  proportion,  however,  of  the  undergraduate  body  took  part  in  it,  than 
was  the  case  at  Harvard. 

3  Illustrated  on  the  cover  of  Davol's  volume:  for  mention  of  this,  see  Davol,  p.  31. 

4  For  mention  of  these  see  T.  H.  Dickinson,  The  Pageant  in  the  Wisconsin  Play-book  for 
September,  1914,  p.  13.    According  to  Professor  Dickinson,  that  which  took  place  near  Balti 
more  in  1840  was  directly  due  to  the  tournament  at  Eglinton,  which  we  have  already  dis 
cussed  (see  above,  p.  182  f.);  one  of  the  last  of  these  tournaments  was  given  at  Front  Royal 
(Virginia)  in  1866. 

6  On  the  Bohemian  Club  "  Jinks  "  see  Porter  Garnett's  volume,  The  Bohemian  Jinks, 
published  by  the  Club  at  San  Francisco,  1908;  also  the  Am.  Pag.  Assoc.  Bulletin  8,  15 
October,  1914.  6  Garnett,  pp.  33,  34. 


PAGEANTRY  IN  THE  UNITED  STATES  287 

THE  DUQUESNE  "PAGEANT"  or  1911 

When  the  Harvard  architects  welcomed,  in  April,  1911,  Professor  Duquesne 
who  had  come  from  the  ficole  des  Beaux  Arts  to  the  chair  of  architectural  design 
at  the  Massachusetts  institution,  they  called  their  entertainment  a  "  pageant." 
Given  in  the  big  living-room  of  the  Harvard  Union,  before  an  audience  of  in 
vited  guests,  the  affair  lacked  the  "  popular  "  element  which  we  have  seen  to  be 
necessary  to  pageantry  in  its  truer  sense.  While  there  was  an  attempt  made  to 
show  the  development  of  architecture  by  means  of  symbolic  figures  —  such  as 
the  Spirits  of  Gothic,  Renaissance,  and  Byzantine  Architecture —  the  dance  was 
at  the  heart  of  the  entertainment,  which  was  more  exactly  a  masque  with  an 
interlude,  and  was  more  closely  related  to  the  revels  of  artists  and  students, 
which  take  place  on  both  sides  of  the  Atlantic,  than  to  pageantry.  There  was 
no  educational  aim  to  this  entertainment;  the  symbolism  was  appropriate,  but 
neither  the  distinguished  guest  of  honor  nor  the  audience,  made  up  largely  of 
architects  and  professors,  derived  much  information  from  the  masque.  This,  in 
itself,  is,  perhaps,  not  enough  to  throw  the  entertainment  out  of  the  realm  of 
pageantry;  but  the  fact  that  it  was  given  before  an  invited  audience,  by  a 
limited  number  of  students  from  one  department  of  an  institution  of  learning, 
and  consisted  largely  of  dancing,  brings  it  into  the  field  of  the  masque. 

A  performance  wherein  history  and  dance  were  almost  inextricably  mixed, 
and  which  combined  a  "  Kirmess  "  with  scenes  at  the  Court  of  Spain,  among 
American  Indians,  in  Colonial  Days,  and  before  the  Civil  War,  was  given  for  the 
benefit  of  the  Home  for  Incurables  at  Cincinnati  in  the  Emery  Auditorium,  16, 
17,  and  18  April,  I9I4.1  This  has  little  right  to  be  called  a  pageant;  it  stands 
half  way  between  the  masque  and  the  carnival,  and  is  interesting  only  as  an 
example  of  what  often  lays  claim  to  the  title  of  pageant. 

An  example  of  the  "  pageant  of  limited  appeal  "  is  that  "  depicting  the  cele 
bration  of  Our  Lady's  Feast  in  Ireland,  Italy,  France,  and  America,"  which  was 
presented  at  ^Eolian  Hall,  New  York  City,  by  a  hundred  members  of  the  Young 
Women's  Catholic  Patriotic  Club,  on  16  May,  1919,  in  honor  of  the  organiza 
tion's  first  anniversary.2  Not  only  is  this  a  "  pageant  "  based  on  religious  ma 
terial,  but  it  apparently  substituted  distance  in  place  for  the  distance  in  time 
characteristic  of  the  episodes  of  the  historical  pageant.  Both  the  subject-matter 
and  the  fact  that  it  was  presented  by  an  association,  membership  in  which  is 
limited,  put  this  production  in  the  field  of  the  so-called  "  festival." 


1  The  souvenir  program  of  this  occasion  may  be  found  in  the  Harvard  Library  [Thr. 
1211.80}. 

2  An  item  announcing  the  event  appeared  in  the  New  York  Times  for  16  May,  1919. 
The  tickets  were  on  public  sale,  but  the  entertainment  did  not  affect  the  community  life  of 
the  metropolis. 


288  ENGLISH  PAGEANTRY 

MASQUE  AND  PAGEANT  IN  AMERICA 

As  masque  and  pageant  differ  chiefly  in  spirit  and  technique,  we  find,  in  Amer 
ica,  a  confusion  arising  between  the  two  as  the  difference  in  technique  diminishes. 
The  modern  American  pageant  allows  considerable  dancing,  and  singing  plays 
a  large  part  in  the  entertainment;  there  are  some  who  would  exclude  speech, 
and  get  all  their  effects  from  song  and  pantomimic  action.  The  modern  "  pag 
eant  "  (not  of  the  processional  type)  is  given  in  one  place  —  either  indoors  or 
out ;  the  masque  admits  allegory  and  symbolism,  and  there  is  no  reason  why  it 
should  exclude  historical  characters  —  provided,  of  course,  that  they  are  not 
out  of  place  in  a  dance.  The  modern  pageant  is  founded  on  history,  and  a  cer 
tain  amount  of  this  element  is  necessary.  Mr.  Parker  represents  one  school 
which  insists  on  the  spoken  word,  a  maximum  amount  of  history,  with  little 
symbolism  and  little  dancing.  In  America,  there  is  a  tendency  to  replace  speech 
by  the  "  broader  effects  "  of  music  and  dancing;  but  music  and  dancing  alone  - 
even  if  symbolic,  and  "  popular  "  -  show  the  technique  of  the  masque  on  which 
the  spirit  of  pageantry  has  been  imposed. 

Although,  broadly  speaking,  the  "  soul  "  of  both  is  the  same,  yet  the  tech 
nique  of  the  masque  absorbs  allegory  and  symbolism  more  readily,  while  the 
modern  pageant  —  being  dramatic  —  deals  almost  entirely  with  historical  char 
acters.  It  is  clear  why  this  must  be  so;  for  when  we  show  an  historical  scene,  we 
must  use  historical  characters.  Were  we  to  replace  the  Puritan  and  Indian  by 
Civilization  and  the  Wilderness,  the  scene  would  cease  to  be  historic  and  would 
be  symbolic.  History  is,  perhaps,  the  flesh  that  covers  the  bones  of  symbolism; 
but  the  pageant  in  its  strict  form  deals  with  that  flesh,  and  only  suggests  the 
bones  that  lie  beneath. 

The  "  Victory  Pageant  "  which  was  given  by  the  Rhode  Island  Normal  School 
on  29  May,  1919,  shows  an  interesting  combination  of  pageantic  material  with 
the  spirit  and  technique  of  the  masque.  It  is  really  rather  a  patriotic  festival 
than  a  pageant:  for,  like  the  Boston  Normal  School  "pageant"  of  1908,  it 
appealed  to  a  limited  group  in  the  community;  it  expressed  itself  rather  by  the 
dance  than  by  the  historical  "  episodes  "  characteristic  of  the  Parkerian  pag 
eantry.  The  material  had  no  particular  connection  with  the  school  producing 
it —  and  was  not  appropriate  to  any  special  locality  or  field  of  activity —  such  as 
"  education,"  which  formed  the  background  of  the  Boston  Normal  School  festival. 
This  is  not,  of  course,  saying  that  it  could  not  have  been  a  very  effective  spectacle. 
The  "  Synopsis  of  Scenes  "  gives  a  good  idea  of  the  matter  treated,  and  one  can 
see  that  it  could  be  easily  adapted  to  any  other  place  or  group.1 


1  The  program  of  this  "  pageant  "  —  from  which  I  quote  —  is  in  the  Harvard  Library.  The 
show  was  adapted  from  The  March  of  Democracy,  a  masque  for  Victory  Day  celebrations,  by 
Charles  B.  McLinn,  in  the  Historical  Outlook  for  January,  1919,  pp.  29  f.  The  pageant  "  is 
not  original,  but  is  adapted,  with  new  headings,  from  a  play  written  for  a  western  institution 


PAGEANTRY  IN  THE  UNITED  STATES  289 

After  the  March,  and  the  Prologue,  comes  Part  I,  "  Our  Allies  before  the  World-War," 
in  which  England,  Russia,  Italy,  Belgium,  Serbia,  and  France  are  represented  by  Folk- 
Dances.1 —  Part  II,  "Autocracy  Dominant,"  shows  a  Herald  preceding  Autocracy,  who 
drives  before  him  frightened  refugees:  in  his  train  follow  War,  Fire,  Famine,  Rapine,  Terror, 
Death,  and  Greed.  An  "  Interpretation  of  the  Grief  of  the  World  "  was  given  in  a  dance. 

Part  III  —  America's  Crusade  for  Democracy.  Soldiers  and  Sailors  escort  the  States  of 
the  Union.  America  enters  with  her  train:  Humanity,  Red  Cross  workers,  Liberty,  Food 
Supply,  War  Gardens,  Mines,  Miners,  Liberty  Loan,  Liberty  Bonds,  War  Savings  Stamps. 
America  recalls  her  Past:  Roger  Williams,  The  Spirit  of  '76,  War  of  1812,  Civil  War,  Spanish- 
American  War,  Immigration.  America  summons  her  Resources:  Food  Supply  and  War  Gar 
dens,  Mines  and  Miners,  Liberty  Loan,  Liberty  Bonds,  and  War  Savings  Stamps.  America 
Proclaims  her  Ideals:  Democracy,  Truth,  Light,  Law,  Justice,  Equality,  Fraternity,  Freedom 
of  Thought,  Opportunity,  Suffrage,  International  Faith,  Peace. 

Part  IV  —  Democracy  Triumphant.  Victory.  Chorus:  "The  Star-Spangled  Banner." 
March. 

The  history  here  —  with  the  exception  of  the  Rhode  Island  figure  of  Roger 
Williams  —  is  universally  American :  propaganda  is  not  lacking  (Suffrage)  and 
would  have  been  stronger  had  there  been  at  the  time,  a  campaign  for  Liberty 
Bonds  or  food  conservation.  The  marches  introduce  and  close  a  show  in  which 
dancing  apparently  plays  a  large  part.  The  whole  school  was  generally  repre 
sented  in  the  cast. 

The  more  successful  pageants  in  America  keep  the  two  elements  separate; 
no  scene  can  be  wholly  satisfactory  when  the  two  are  mixed.  And  a  pageant  at 
its  best  should  include  the  whole  community;  when  fewer  participate,  the 
celebration,  even  if  it  deals  with  history,  tends  to  become  a  "  festival." 

THE  "PAGEANT-PLAY" 

The  "  pageant-play  "  -  like  the  political  pageantry  of  the  Pope-burnings  — 
is  not  likely  to  be  local  in  its  appeal;  we  have  seen  that  the  Pope  was  burned  at 
London,  at  Edinburgh,  and  at  Boston.  In  such  a  category  would  fall  produc 
tions  like  Mr.  Percy  MacKaye's  Caliban,  which  was  less  concerned  with  local 
history  than  with  drawing  a  community  together;  it  was  produced  in  the  Stadium 
of  the  City  College  of  New  York  in  1916,  and  the  next  year,  shortly  after  the 
United  States  had  associated  herself  with  the  Allies  in  the  Great  War,  was  re 
peated  in  the  Harvard  Stadium,  for  the  benefit  of  the  American  Red  Cross  and 
the  Harvard  R.  O.  T.  C.2  This,  Mr.  MacKaye  called  a  "  community  masque," 


and  published  in  an  educational  magazine  .  .  ."   From  a  letter  written  by  Miss  M.  L.  Brown 
of  the  Rhode  Island  Normal  School. 

1  This  scene  is  based  on  The  Drama  of  the  Powers,  a  "  dialogue  "  by  Douglas  Horton,  in 
the  Historical  Outlook  for  March,  1919,  pp.  132  ff. 

2  See  Community  Drama,  pp.  51  ff.,  and  p.  62.    Mr.  MacKaye  applies  the  term  "  com 
munity  masque  "  to  his  spectacle,  and  most  of  the  writers  of  the  press-notices  included  in  the 
appendix  to  the  volume  cited,  use  the  same  term,  which  is  more  appropriate  for  a  show  based 
on  Shaksperian  material,  and  in  which  the  community  effort  was  of  chief  importance. 


290  ENGLISH  PAGEANTRY 

objecting  to  the  use  of  pageantry,  as  a  misleading  term ; l  the  motive  and  method 
behind  it — "  the  Christian  motive  of  efficient  '  neighborliness,'  and  the  art 
method  of  dramatic  organization  " 2 —  are  intended  to  distill  the  organized,  con 
structive  imagination  which  peace  lacks.  War,  holds  Mr.  MacKaye,  organizing 
for  competition,  creates  a  national  mind:  the  Community  Drama,  organizing  for 
cooperation,  harmonizing  community  with  community,  nation  with  nation,  may 
create  an  international  mind.  There  are  many  who  believe,  with  Mr.  Parker, 
that  local  history  is  the  best,  if  not  the  only,  material  capable  of  uniting  solidly 
a  community,  which  shares  the  past  in  common  heritage ;  that  too  much  sym 
bolism  fails,  and  that  it  is  not  enough  to  join  in  giving  a  show,  but  that  the  show 
must  be  worth  giving,  and  have  the  particular  appeal  which  only  one's  own  show 
can  have.  This  Mr.  MacKaye  recognizes  when  he  says:  "  The  difference  is  be 
tween  mine  and  ours  .  .  .  '  My  pageant '  is  inconceivable.  '  Our  show  '  is  the 
typical  vernacular  of  every  civic  festival."  3 

Such  a  feeling  must  weaken,  if  it  does  not  entirely  disappear,  before  pageants 
written  for  any  community  which  lacks  the  energy  or  the  originality  to  bring 
forth  its  own.  "  Books  of  historical  pageant-plays  "  4 —  the  characters  of  which 
are  of  necessity  types  (sometimes  combined  with  allegory  or  symbolism)  —  re 
mind  us  of  machine-made  goods,  which  drive  out  the  better  hand-made  products, 
with  a  gain  in  efficiency  and  convenience  hardly  equivalent  to  the  loss  in  quality 
and  art.  Closely  allied  to  this  kind  of  thing  is  the  "  pageant-ceremony  "  devised 
by  Mr.  MacKaye  at  the  request  of  the  Citizenship  Day  Committee  of  New  York 
to  welcome  newly  naturalized  citizens  in  the  City  College  Stadium,  and  "  de 
signed  to  be  at  the  service  of  whatever  American  community,  committee,  school, 
or  civic  society  may  desire  to  use  it."  5  Here  the  historical  characters  are  limited 
to  national  figures  "  chosen  not  from  one  era  but  out  of  the  total  tradition  of  our 
liberties";  symbolical  figures,  such  as  Liberty  and  America,  and  types,  such 
as  new  citizens  and  folk-dancers,  join  them.  The  "  ritual  "  may  be  applied  to 
any  American  community;  and  may  be  repeated  as  often  as  occasion  arises. 

While  pageantry  is  a  powerful  weapon  of  propaganda,  and  may  be  a  strong 
tool  in  the  hand  of  the  sociologist  who  seeks  to  develop  community-spirit  by  its 
aid,  there  is  a  danger  that,  in  seeking  to  "  educate,"  pageant-masters  in  Amer 
ica  may  forget  the  value  of  local  history,  which,  in  some  pageants,  is  almost 
crowded  out  to  make  way  for  nameless  types  or  purely  allegorical  figures,  char 
acteristic  of  the  older  masque. 

1  Community  Drama,  p.  39.        2  Ibid.,  Preface,  p.  xii.        3  Community  Drama,  p.  20  f. 

4  Such  as  Plays  of  the  Pioneers,  by  Constance  d'Arcy  Mackay.  In  this  volume,  The  Pio 
neers  "  forms  the  lyric  interlude  in  the  Pageant  of  Pioneers  now  in  rehearsal  in  some  of  the 
smaller  farming  communities  of  the  Dakotas  and  other  Western  states.  This  pageant  is  not 
a  pageant  of  a  given  place,  but  of  a  movement  —  the  Pioneer  Movement  —  with  episodes 
adaptable  and  applicable  to  any  locality  that  has  witnessed  the  coming  of  the  pioneers,  their 
vicissitudes,  and  final  triumphs."  (Op.  cit.,  p.  12.) 

6  The  New  Citizenship,  p.  8. 


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PAGEANTRY  IN  THE  UNITED  STATES  291 

§  4.    DEFINITIONS  OF  "  PAGEANT,"  AND  CLASSIFICATION 
OF  PAGEANTIC  SHOWS 

We  are,  perhaps,  ready  now  to  define  a  pageant.  Several  definitions  have 
been  made,  and  some  of  these  we  shall  cite.  To  begin  with  Mr.  Parker's :  "  Let 
me  say  here  what  a  pageant  is  not.  It  is  not  a  circus.  It  is  not  a  procession.  It 
is  not  in  any  sense  a  display  of  professionalism  ...  It  is  the  representation  of  the 
history  of  a  town,  in  dramatic  form,  from  the  earliest  period  to  some  later  point, 
forming  a  fitting  climax.  This  is  set  forth  in  verse  and  prose  of  the  most  direct 
sort,  and  is  embellished  with  choruses,  songs,  dances,  marches,  and  every  legiti 
mate  spectacular  adjunct.  It  is  acted  in  some  beautiful  and  historical  spot, 
which  is  left  without  any  artificial  embellishment  whatever.  It  is  acted  by  the 
citizens  of  the  town  themselves,  their  wives,  their  children  and  their  friends  .  .  . 
It  is  acted  in  a  spirit  of  simplicity  and  reverence,  and  the  audience  must  bring 
the  same  spirit  in  watching  its  progress.  It  is  not  a  stage  play.  It  is  a  lofty  and 
dignified  panorama  of  the  town's  history.  And  it  is  ...  an  act  of  local  patriotism. 
And  out  of  local  patriotism  grows  that  wider  patriotism  which  binds  the  sons  of 
England  together  .  .  .  But  it  is  more  still.  I  confess  I  cannot  conceive  a  pageant 
except  as  an  incident  in  a  great  act  of  praise  and  thanksgiving  .  .  ." l  And 
again  — 

"  It  is  a  great  drama  representing  the  history  of  a  city  ...  It  is  a  powerful, 
historical  object  lesson."  2 

These  passages  show  what  the  Parkerian  standard  is;  and,  indeed,  most  of 
the  English  pageants  not  directed  by  Mr.  Parker  strove  toward  these  ideals. 
As  I  have  already  stated,  the  pageant  in  England  is  a  chronicle-play;  it  awakens 
civic  pride  by  portraying  history.  But  these  definitions  do  not  apply  to  all  the 
American  pageants  we  have  been  studying;  here,  the  art  has  undergone  certain 
changes,  as  we  have  seen.  "  Pageantry,"  says  Professor  Baker,  "  seems  likely 
to  be  for  us  [in  America]  a  combination  of  the  Chronicle-Play  and  the  Morality, 
a  free  dramatic  form  which  teaches,  though  not  abstractly,  by  stimulating  local 
pride  for  that  in  the  past  which  makes  the  best  incentive  to  future  civic  endeavor 
and  accomplishment.  Already  in  the  communities  where  it  has  been  tried,  it 
has  quickened  patriotism,  strengthened  civic  pride,  and  stimulated  or  revealed 
latent  artistic  powers."  3 

Mr.  W.  C.  Langdon,  subsequently  president  of  the  American  Pageant  Asso 
ciation,  wrote  in  1912:  "I  feel  very  strongly  that  the  word  pageant  is  used  for 
so  many  different  kinds  of  festal  activities  that  it  has  but  little  definitive  value 
left  it.  My  definition  of  a  real  pageant  is  a  drama  in  which  the  place  is  the  hero 
and  the  development  of  the  community  is  the  plot.  It  is  community  drama,  as 


1  Journ.  Soc.  Arts,  liv,  p.  144.  z  New  Boston,  for  November,  1910,  p.  296. 

3  New  Boston,  November,  1910,  p.  296. 


292  ENGLISH  PAGEANTRY 

distinguished  from  individual  drama."  l  Mr.  Davol z  notes  that  American  pag 
eants  lean  more  towards  symbolism  and  prophecy  than  do  the  English,  and  con 
tinues:  "  Two  types  of  standard  pageantry  now  in  vogue  are:  First,  what  we 
may  call  the  academic  pageant,3  given  in  schools  and  colleges  as  a  means  of 
visualizing  history  and  of  Americanizing  the  foreign-born  element  of  the  popu 
lation  by  a  dramatic  appeal. 

"  Secondly,  in  a  larger  way,  comes  the  community,  or  anniversary,  pageant. 
.  .  .  the  community  pageant,  as  a  whole,  never  failed  to  inspire  finer  fellowship 
or  make  for  life  more  abundant." 

Good  as  these  definitions  are  for  the  historical  pageant  of  modern  times,  which 
came  into  being  with  that  at  Sherborne  in  1905,  none  of  them  seems  quite  in 
clusive  enough.  "  Logically,  for  the  benefit  of  the  public,  it  is  essential  that  some 
discussion  should  clear  the  atmosphere  and  decide  just  what  we  do  mean  by  a 
Pageant"  writes  Miss  Mary  P.  Beegle.4  "  This  distinction  in  the  use  of  the  term 
is  not  a  mere  matter  of  terminology,  but  it  rather  becomes  a  question  of  the  en 
tire  purpose  of  pageantry.  Just  what  are  we  trying  to  do  with  the  pageant  in 
the  community  ?  This  question  requires  a  definite  answer,  because  the  commer 
cial  pageant,  for  instance,  even  when  a  beautiful  artistic  production,  still  re 
mains  a  commercial  venture  in  distinction  from  the  type  of  community  drama 
which  it  is  the  object  of  the  [Association]  to  foster. 

"  Yet,  so  far  as  the  public  can  see,  the  commercial  pageant  apparently  fulfills 
the  superficial  aspects  of  the  true  pageant,  and  it  is  only  through  education  and 
publicity  that  the  many  individuals  composing  the  public  may  be  made  to  realize 
the  significance  of  pageantry  as  a  new  and  possible  art  for  the  people,  of  which 
the  final  aim  is  Social  Service  .... 

"It  is  not  right  to  assume  that  the  highest  social  value  of  the  pageant  may 
only  be  gained  from  a  spirit  of  loyal  cooperation.  If  the  pageant  is  lacking 
either  in  artistic  or  dramatic  qualities  it  is  a  failure,  for  the  reason  that  such  a 
pageant  does  not  establish  a  true  standard  .  .  .  No  slovenly  or  inartistic  per 
formance  may  be  excused  on  the  ground  of  the  splendid  spirit  aroused  through 
the  work,  or  by  the  fact  that  the  people  have  had  a  chance  to  express  themselves. 
Pageantry  must  set  a  high  standard  of  production.  It  may  be  simple;  but  it 
must  be  well  done,  or  it  cheats  not  only  the  audience  but  the  performers  .... 

"  The  question,  it  would  seem,  is  one  of  purpose;  if  the  purpose  is  to  bring 
into  the  lives  of  the  people  a  new  form  of  recreation  that  awakens  a  sense  of 


1  I  quote  from  a  letter.    Cf.  Am.  Pag.  Assoc.  Bulletin  n,  i  December,  1914. 

2  Handbook  of  Am.  Pag.,  p.  28. 

3  Practically  what  we  have  called  the  "  festival  "  for  want  of  a  better  name. 

4  Am.  Pag.  Assoc.,  Bulletin  7,  15  September,  1914.    Cf.  Am.  Pag.  Assoc.,  Bulletin  53, 
i  December,  1917,  for  "  a  set  of  tentative  definitions  of  the  principal  types  of  modern  com 
munity  celebrations."    These  include  pageant,  community  drama,  masque,  festival,  and  pro 
cessional. 


PAGEANTRY  IN  THE  UNITED  STATES  293 

beauty  and  pride  in  the  community,  it  is  necessary  that  we  have  a  clear  idea  of 
what  we  mean  that  new  art  to  be  called." 

THE  AIM  OF  PAGEANTRY 

Mr.  Parker  has  very  clearly  stated  the  purpose  of  the  English  pageant;  does 
that  of  the  American  differ  ?  It  may,  I  think,  be  agreed  that  the  aim  of  pag 
eantry  is  to  interest  and  educate  the  people;  to  arouse  a  civic  pride  and  a  com 
munity  spirit,  patriotism,  humility,  and  a  love  of  the  beautiful;  and  to  show 
the  community  what  it  can  itself  accomplish  toward  this  end.  Unless  the  desire 
to  give  a  pageant  comes  from  the  community  itself  —  perhaps  aroused  by  the 
work  of  a  neighboring  town  —  no  really  successful  pageant  can  result. 

"  FUTURISM  "  IN  PAGEANTRY 

It  is  not  my  purpose  here  to  discuss  the  methods  by  which  pageantry  can 
best  accomplish  these  aims.  Professor  Dickinson  has  touched  upon  the  matter: 
"  Too  easily  assuming  a  lack  of  glories  in  the  past,  some  directors  are  centering 
their  attention  in  the  present,  and  throwing  into  high  relief  the  wonders  of  present 
'  achievement.'  To  me  the  glorification  of  the  present  comes  with  a  bad  grace. 
And  with  even  poorer  grace  comes  the  custom  of  some  of  presenting  the  past  as 
a  crude  and  shameful  background  for  presenting  '  enlightenment  and  progress.' 
Aside  from  the  poor  taste  of  this  attitude,  it  is  quite  lacking  in  truthful  perspec 
tive.1  Without  reverence  there  can  be  no  art.  And  in  self- vaunting  there  can 
be  neither  art  nor  social  welfare.  The  good  pageant  is  one  that  strives  to  make 
us  worthy  of  our  yesterdays  by  enriching  then1  promise. 

"  There  is  a  theory  that  the  future  can  be  effective  material  for  pageantry. 
For  this  theory  William  Chauncy  Langdon  makes  himself  responsible  when  he 
speaks  of  the  drama  of  the  community  being  '  carried  down  to  the  present  and 
on  into  the  future  to  reflect  in  advance  the  gleam  of  those  ideal  conditions  which 
the  new  country-life  movement  is  so  successfully  bringing  into  realization.'  A 
theory  so  idealistic  as  this  needs  respectful  consideration.  But  it  is  clear  that  if 
there  is  any  value  in  the  theories  we  have  been  working  out  for  the  pageant, 
episodes  of  the  type  suggested  by  Mr.  Langdon  would  fall  to  the  ground  through 
their  extra-dramatic  character.  It  is  greatly  to  be  doubted  whether  the  future 
could  be  so  realistically  treated  as  to  be  interesting.  Put  to  such  a  use,  the  pag 
eant  becomes  the  vaguest  kind  of  symbolism,  dealing  with  no  clutches  or  soul- 
stirring  contests,  or  reminiscent  ceremonies,  but  done  up  in  the  white  mist  of  a 
future  that  the  more  sceptically-minded  of  us  would  fear  as  we  fear  the  heaven 
of  our  youth."  z 


1  Professor  Dickinson  here  refers  to  American  pageantry. 

2  The  Play-book  for  September,  1914,  p.  28. 


294  ENGLISH  PAGEANTRY 

PAGEANTS  CLASSIFIED 

Three  kinds  of  pageants  are  indicated  in  Pageants  and  Pageantry  —  the  pa 
rade,  the  out-door  performance,  and  the  indoor  entertainment,  "  made  up  of 
scenes  so  related  as  to  possess  unity."  l  I  have  classified  pageants  differently. 
It  makes  little  difference  whether  a  pageant  be  given  outdoors  or  in;  the  chief 
question  is,  is  it  "  popular,"  or  of  limited  appeal  ?  Assuming  that  the  theme 
shows  unity,2  does  it  have  the  popular  element  which  lies  in  "  the  freedom  of  the 
people  of  the  community  to  take  part  in  it  ?  "  3  If  not,  it  is  a  "  festival,"  4  no 
matter  how  easily  the  public  may  get  tickets.  This  is  a  fundamental  distinction 
between  the  dramatic  pageant  and  the  "  festival."  The  production  of  a  limited 
group  naturally  draws  a  selected  audience;  and  it  makes  no  great  difference 
whether  this  audience  sits  in  the  open  air  or  in  a  hall.  The  "  popular  "  element 
is  the  "  spirit "  of  pageantry;  the  masque  has  always  appealed  to  a  limited  circle. 
In  early  times,  the  "  technique  "  of  the  pageant  was  the  procession  —  now  it  is 
the  procession  of  events  dramatically  presented;  while  the  "  technique  "  of  the 
masque  has  always  been  the  dance.  The  "  festival "  shows  the  spirit  of  the 
masque  combined  with  the  technique  of  the  pageant,  as  the  older  "  folk-play," 
or  mumming,  suggests  the  spirit  of  the  pageant  joined  to  the  technique  of  the 
masque.  The  production  of  a  community  appeals  to  the  community,  and  has 
the  true  "  popular  "  quality  necessary  for  a  pageant. 

Then,  of  course,  there  is  the  second  type  of  pageant  —  that  which  is  not 
given  against  a  stationary  background.  At  one  time  this  included  speech: 
speech  may  in  time  come  back  to  it.  If  it  is  given  merely  to  entertain,  using  no 
history  and  little  symbolism  —  even  if  it  shows  frank  commercialism  —  it  is 
still  a  pageant.  It  may  not  be  a  high  form  of  pageantry,5  but  nothing  can  take 
from  it  the  name  that  belongs  to  it  by  right  of  inheritance.  This  kind  is,  even 
today,  capable  of  great  things;  at  its  worst,  it  is  carnivalistic  hodge-podge. 


1  Bates  and  Orr,  p.  5. 

2  The  theme  may  be  the  growth  of  national  spirit,  the  struggle  of  a  people  for  liberty,  the 
progress  of  a  science  or  of  education  (to  cite  Pageants  and  Pageantry,  p.  5).    "  Naturally  such 
an  instrument  [as  the  pageant]  does  not  pass  unnoticed  by  those  who  have  a  program  to 
promulgate.    Already  people  are  using  it  to  establish  a  number  of  cases  from  the  right  of 
women  to  the  vote  to  the  necessity  of  '  swatting  the  fly.'  "    Dickinson,  op.  cit.,  p.  27. 

The  larger  the  theme,  the  less  likely  it  is  to  appeal  to  a  limited  group.  Every  pageant  is, 
of  course,  given  by  a  group;  but  the  members  of  such  a  group  should  be  chosen  from  as  large 
a  field  as  possible.  The  more  representative  it  is  of  the  community,  the  nearer  it  comes  to 
fulfilling  the  ideal  conditions  of  a  pageant. 

3  As  Mr.  Langdon  phrases  it,  in  a  letter  dated  28  January,  1913. 

4  This  is  what  Professor  Dickinson  (op.  cit.,  p.  28)  calls  "  the  Pageant  of  Idea  ";  it  deals 
with  that  which  may  be  greater  than  the  community,  but  which  interests  only  a  part  of  the 
community,  not  being  a  common  interest  of  all. 

5  A  melodrama  may  be  rough  and  uncouth,  but  it  still  belongs  to  the  drama. 


PAGEANTRY  IN  THE  UNITED  STATES  295 

These,  then  are  the  two  classes  of  modern  pageants  —  the  processional  and 
the  dramatic.1    The  division  may  be  graphically  represented  as  follows: 


A. 

Street  processions  with 
floats  containing  fig 
ures  of   allegorical, 
symbolical,  and  his 
torical  significance. 

B.   Related  episodes  given  in  one  place 

i 
Of  the  town;  by  the  town; 
a  main  element  being 
history 

2 

Of  a  science  or  art;   by  a 
restricted  group 

In  this  table,  A  represents  the  oldest  branch  of  the  family  —  one  that  has, 
perhaps,  seen  better  days,  but  which  does  not  deserve  to  be  snobbishly  frowned 
upon.  Bi  represents  the  "  historical  pageant  "  or  "  community  drama,"  while 
62,  representing  the  "  festival,"  is  an  offshoot  from  it,  and  really  is  not  entitled 
to  be  called  pageant  at  all.  It  is  sometimes  hard  to  tell  whether  a  given  produc 
tion  should  be  placed  in  Bi  or  2 ;  An  Dhord  Fhiann  and  the  Hollis  Hall  Pageant 
dealt  with  historical  episodes  of  interest  to  a  small  part  of  the  community;  the 
Pageant  of  Progress  dealt  with  science  and  art,  yet  interested  all  of  an  isolated 
collegiate  community;  From  Cave  Life  to  City  Life  treated  history  in  terms 
largely  symbolic,  and  failed  to  appeal  to  an  entire  metropolitan  population.  All 
so-called  "  pageants  "  given  in  large  cities  tend  to  become  "  festivals  "  -  es 
pecially  when  any  other  subject  than  the  history  of  the  community  is  dealt  with. 

Although  sometimes  called  "  pageants,"  such  productions  as  the  Bohemian 
Club  "  Jinks,"  and  the  Harvard  masque  in  honor  of  Professor  Duquesne,  are 
outside  of  the  field  altogether.  They  show  a  further  development  of  the  ten 
dencies  indicated  by  the  "  festival." 

In  the  definitions  of  Mr.  Parker,  Professor  Baker,  and  Mr.  Langdon  which  I 
have  cited,  history  plays  an  important  part.  That  it  is  an  essential  for  those 
pageants  which  fall  into  group  Bi  will  be  readily  admitted —  and  accuracy  is, 
as  I  have  said,  of  prime  importance  where  historical  episodes  are  concerned. 
Unless  the  allegory  and  symbolism  common  in  the  American  pageants  are  rigidly 
kept  to  the  interludes,  the  pageants  will  go  over  the  line  to  the  "  festival  ";  for, 
as  has  been  pointed  out,  allegory  and  symbolism  are  naturally  expressed  in  the 
dance,  and  militate  against  history  unless  they  are  kept  subordinate  to  it. 

Because  a  carnival  procession  contains  no  unity  of  any  sort,  historical  or 
symbolic,  it  has  only  the  "  raw-material  "  of  pageantry.  The  emotions  aroused 


1  Professor  Dickinson,  in  the  Play-book  (from  which  I  have  already  cited),  p.  14,  divides 
pageantry  into  two  main  classes:  the  "  so-called  Continental  or  Processional  type  in  which 
the  event  and  the  ceremony  are  presented  in  a  moving  procession  of  floats  and  symbolic 
figures  in  costume,"  and  "  the  English  or  dramatic  type,  in  which  the  action  takes  place  on 
one  spot,  or  on  a  series  of  related  spots,  in  the  form  of  a  plot  loosely  constructed  of  a  series  of 
authentic  episodes  in  dramatic  form,  usually  comprising  speech,  action,  and  suggestive  setting." 


296  ENGLISH  PAGEANTRY 

by  such  a  show  are  transitory.  The  same  inborn  desire  for  spectacular  display 
underlies  the  "  educational  "  pageant;  but  here  we  have  come  to  look  for  some 
thing  more.  If  our  pageantry  is  more  than  mere  entertainment,  it  is  because 
we  like  to  feel  that  we  are  not  simply  amusing  ourselves;  this  is  an  age  which 
cannot  fully  enjoy  Niagara  because  it  thinks  of  the  unharnessed  power  going  to 
waste. 

With  the  development  of  history  —  an  element  which  has  been  growing  in 
importance  in  recent  Lord  Mayor's  Shows  —  pageantry  has  become  a  new  force. 
In  America,  we  have  linked  history  to  morality-play  abstractions  —  a  danger 
ous  thing  to  do  if  we  wish  to  keep  the  educational  value  of  the  pageant.  But,  as 
Professor  Kittredge  has  said,  this  is  an  age  of  symbolism  and  abstraction;  we 
no  longer  talk  of  "  learning  a  trade  "  — we  create  an  abstract  Vocational  Edu 
cation;  we  speak  of  Efficiency  as  if  he  were  an  intimate  friend.  A  few  years  ago 
we  personified  Gold  and  Silver  in  a  political  campaign.  Pageantry  readily  adapts 
itself  to  this  state  of  mind;  and  that  is  one  reason  why,  in  America,  it  is  a  mix 
ture  of  chronicle-history  and  the  morality-play.  The  other  is,  as  I  have  already 
stated,  because  we  wish  to  portray  the  future,  and  can  do  so  only  by  means  of 
abstractions.  But  the  tendency  must  be  kept  under  control,  or  the  new  form  of 
artistic  expression,  which  seems  so  vigorous  now,  is  doomed. 


CHAPTER   X 

CONCLUSION 

HERE,  then,  we  end  our  survey  of  English  pageantry.  We  have  traced  its 
course  through  details  monotonous  in  their  repetition,  from  the  mists  of 
folk-custom  to  the  chaotic  conditions  of  the  contemporary  pageantry  in  the 
United  States.  We  have  seen  how,  in  pre-Christian  times,  the  folk  marched 
with  images  of  animals,  and  figures  of  men  —  survivals  of  the  human-sacrifice 
practiced  by  primitive  peoples.  This  is  the  basis  of  the  pageantry  which  was 
so  common  in  the  middle  ages,  and  is  not  yet  dead.  The  Church  made  use  of 
the  figures,  turning  them  into  saints'  images;  and  the  guilds  used  the  animals 
as  trade-symbols.  In  1298,  both  saint  and  fishes  accompanied  a  London  guild 
when  it  celebrated  the  victory  of  Falkirk. 

The  common  misapprehension  concerning  the  importance  of  the  miracle- 
plays  in  the  history  of  the  pageant  we  have  helped  to  dispel.  It  is  true  that  these 
performances  would  be  pageants,  were  they  not  something  more;  but  they  must 
be  considered  dramatic  productions  —  given,  if  you  will,  under  pageantic  con 
ditions.  Pure  pageantry  arose  in  the  folk-celebrations  and  the  "  royal-entry  ": 
often  enough,  in  the  provincial  towns  especially,  the  pageant-car  of  the  guild 
miracle-play  was  pressed  into  service  to  furnish  a  suitable  platform  from  which 
some  appropriate  Biblical  character  could  address  the  visiting  sovereign.  Only 
then  did  the  miracle-play  element  become  pageantic. 

The  folk-giant,  who  lasts  to  this  day  in  the  figures  of  Gog  and  Magog  and 
the  Salisbury  St.  Christopher,  seems  to  have  occasionally  taken  the  form  of  a 
champion.  At  least  once  the  giants  appeared  in  a  "  royal-entry  "  with  the  ap 
propriate  names  of  Hercules  and  Samson.  Perhaps  the  Bruce,  who  greeted  a 
Scottish  queen  early  in  the  sixteenth  century,  was  a  folk-giant  under  an  his 
torical  disguise;  history  was  first  attached  to  the  London  giants  in  1554,  when 
Gogmagog  and  Corineus  welcomed  Philip  of  Spain  to  his  wife's  capital. 

From  the  "  Court  of  Love  "  literature  —  perhaps  by  way  of  the  pageantic 
tournament —  came  the  castle,  which  we  find  in  an  English  "  royal-entry  "  in 
1377;  in  1432,  Lydgate  introduced  allegory  into  the  pageant,  and  early  in  the 
sixteenth  century,  mythological  characters  made  their  appearance. 

The  habit  of  masking,  common  alike  to  court  and  folk,  showed  itself  in  the 
tournament  which  earlier  than  1300  had  begun  to  grow  less  serious.  Allegory 
soon  developed,  and  the  seed  from  which  grew  the  Elizabethan  tilt  and  barrier 
was  planted.  It  was  not  long  before  the  informal  masquerades  of  the  court  were 
elaborated  into  more  formal  entertainments  built  around  the  dance,  which,  in 
the  reign  of  Henry  VII,  had  borrowed  the  car  from  the  pageantic  procession. 

297 


298  ENGLISH  PAGEANTRY 

This  developed  into  the  elaborate  background  against  which  the  later  Tudor 
and  Stuart  masques  took  place,  and  which,  in  its  turn,  became  the  chief  source 
of  our  modern  scenery. 

Perhaps  the  pageant  gave  allegory  to  the  morality-play,  though  this  point 
needs  further  investigation.  It  is  possible  that,  having  received  allegory  from 
literature  at  the  hands  of  John  Lydgate  —  at  a  time  when  the  morality-play  was 
in  its  infancy  —  the  pageant  showed  how  the  qualities  could  be  personified,  and 
gave  a  hint  to  the  morality-play  writers.1  It  seems  quite  clear  that  The  Castle  of 
Perseverance  and  Mary  Magdalene  owe  something  to  the  "  materialized  love 
allegory  "  of  the  tournament,  but  I  do  not  press  the  matter  of  the  morality- 
play's  debt  to  the  pageant. 

Mythological  characters  are  first  found  in  Scotland  just  after  1500;  I  sug 
gest  that  they  came  from  France.  In  1 5  2  2 ,  Jason  and  Medea  welcomed  Charles  V 
to  London;  and  in  1533,  Udall  and  Leland  employ  Mercury,  Paris,  and  the  three 
goddesses  in  the  reception  to  Anne  Boleyn.  Pageantry,  like  every  other  form  of 
artistic  expression  in  the  early  sixteenth  century,  reflects  the  Renaissance  spirit. 

Between  the  end  of  the  thirteenth  century  and  the  reign  of  Elizabeth,  pag 
eantry  was  chiefly  developed  in  the  "  royal-entry."  Perhaps  this  development 
was  aided  by  influence  from  the  "  groote  Ommeganck  "  of  Antwerp,  and  similar 
shows  on  the  Continent;  but  one  may  suggest  that  there  was  an  influence  also 
in  the  opposite  direction.  It  is  not  the  purpose  of  this  work  to  trace  connections 
between  the  pageantry  of  England  and  that  of  Belgium,  France,  and  Italy; 
that  such  existed  is  plain,  but  details  of  this  exchange  must  be  left  to  future 
studies. 

After  the  middle  of  the  sixteenth  century,  when  the  "  Midsummer  Show  " 
a  survival  of  old  folk-custom  —  began  to  die  out,  the  pageants  were  transferred 
to  the  Lord  Mayor's  Day  "  riding,"  which  had  been  going  on  annually  since  1209. 
In  1422,  the  mayor  first  made  the  journey  to  Westminster  by  water;  and  this 
method  of  transportation  gradually  became  —  with  some  interruptions  —  the 
rule  until  1856.  The  pageants  of  the  "  Midsummer  Show  "  were  combined  with 
the  "  water-triumph  "  and  thus  the  Lord  Mayor's  Show  grew  up. 

George  Peele  wrote  the  words  for  the  first  Lord  Mayor's  Show  of  which  the 
speeches  have  come  down  to  us.  Among  the  poets  who  followed  him  were  Mun- 
day,  Dekker,  Heywood,  Middleton,  Webster,  Jordan,  Tatham,  Taubman,  and 
Settle,  with  whose  Show  for  1708 — which  was  not  presented,  owing  to  the 
death  of  the  Prince  of  Denmark,  Queen  Anne's  husband  —  speech  departed 
from  the  triumphs  of  the  Lord  Mayor. 

By  the  end  of  the  eighteenth  century,  and  during  the  first  half  of  the  nine 
teenth,  the  civic  show  at  London  consisted  of  little  pageantry  beyond  the  "  armed 
men  ";  but  of  late  years  there  has  been  an  attempt  to  revive  the  older  glories; 

1  It  is,  of  course,  also  possible  that  the  morality-play  and  the  allegorical  pageant  are  in 
dependent  developments  of  the  same  tendency. 


CONCLUSION  299 

and  allegory,  symbolism,  and  history  have  reappeared  on  pageant-cars,  or  floats. 
In  the  first  years  of  the  war,  the  Show  was  used  to  stimulate  recruiting,  and  the 
regiments  which  marched  therein  —  themselves  historical  —  replaced  figures 
dressed  up  to  represent  historical  characters. 

In  1783,  figures  from  the  Lord  Mayor's  Show  appeared  on  the  stage  of  a 
London  theatre;  and  thus  the  tableaux  vivants  were,  for  the  first  time,  transferred 
from  the  street-pageants  to  a  hall.  The  material  dealt  with  was  chiefly  history; 
and  it  is  not  difficult  to  see  the  connection  between  the  pageantic  procession  and 
such  living-pictures  of  history  which  appeared  in  the  United  States  at  Marietta 
in  1888. 

These  make  a  convenient  link  between  the  old  and  newer  pageantry.  Of  the 
old  —  the  technique  of  which  is  the  procession  —  there  are  survivals  not  only 
in  the  Lord  Mayor's  Show,  and  the  celebrations  at  Knutsford,  Lichfield,  Coven 
try,  and  other  towns  in  England,  but  revivals  in  America  —  at  Boston,  Spring 
field  (Massachusetts),  Philadelphia  (in  1908)  and  Norristown  (in  1912),  to  name  a 
few  of  many  examples.  The  carnival  processions  of  many  places  show  the  "  raw 
material  "  of  pageantry,  without  the  unity  which  is  essential  for  the  higher  forms 
of  art. 

The  new  "  pageant,"  however,  is  something  quite  different.  With  the  ex 
ception  of  the  final  march  at  the  end,  it  has  kept  none  of  the  processional  fea 
tures  we  have  come  to  associate  with  the  pageant.  It  is  a  chronicle-play,  differ 
ing  from  the  Elizabethan  chronicle-play  only  in  the  fact  that  the  hero  is  a  town, 
not  an  individual.  Just  as  John  Lydgate  may  be  called  the  "  father  of  pag 
eantry,"  because  he  brought  the  form  into  the  field  of  art,  so  Mr.  Louis  N. 
Parker  is  the  "  father  of  the  modern  pageant,"  which  came  into  being  at  Sher- 
borne  hi  1905. 

This  new  form  of  pageantry  traces  its  ancestry  not  from  the  old,  but  from  the 
German  Erinnerungsspiele.  We  have  noted  how  the  more  recent  Lord  Mayor's 
Shows,  by  emphasizing  not  the  history  of  some  guild  but  the  history  of  the  city, 
prepared  the  public  for  this  "  historical  community-drama  "  which  is  now  called 
"  pageantry."  These  plays  —  for  they  are  really  plays —  tell  the  history  of  a 
community  in  episodes;  they  are  produced  by  the  members  of  a  community, 
and  have  a  great  educational  value,  care  being  taken  to  make  the  reproductions 
historically  accurate. 

This  modern  "  folk-play  "  is  to  our  time  what  the  chronicle-play  was  to  the 
people  of  Shakspere's  England.  It  vitalizes  history.  From  the  mother-country, 
it  spread  to  the  American  continent;  and  in  the  United  States,  it  absorbed  the 
historical  tableaux  vivants,  giving  them  pantomimic  action,  in  many  cases  speech, 
and  often  an  open-air  setting.1 


1  As  has  been  shown,  there  is  more  emphasis  on  symbolism  and  allegory  in  the  American 
work  than  in  the  English.  This  is  due  to  several  causes,  and  has  resulted  in  giving  us  the 
"  futuristic  pageant,"  or  pageant  which  looks  to  the  future,  rather  than  to  the  past. 


300  ENGLISH  PAGEANTRY 

A  further  development  has  taken  place  on  this  side  of  the  ocean;  for  the 
"  pageant "  given  by  a  school,  or  small  group  in  a  community,  instead  of  by 
the  people  as  a  whole,  has  lost  its  "  popular  "  aspect.  These  entertainments  — 
the  subject  of  which  is  usually  of  less  general  interest  to  the  majority  of  the  people 
than  would  be  the  history  of  their  town,  and  which  frequently  trace  the  develop 
ment  of  some  art  or  science  which  interests  the  group  producing  them  —  have 
been  called  "  festivals."  They  have  the  spirit  which  underlies  the  masque  — 
which  is  given  by  and  for  a  restricted  circle  —  and  at  times  their  technique  ap 
proaches  that  of  the  masque. 

Professor  A.  Chaurand,  of  the  Lyce"e  Ampere,  Lyons,  in  a  letter  of  28  May, 
1918,  wrote:  "...  A  Lyon,  nous  avons  une  nouvelle  creation  de  la  Croix  Rouge 
americaine:  un  asile  pour  les  enfants  des  refugies,  6tabli  dans  la  maison  tres 
somptueuse,  mais  assez  laide,  de  1'ancien  consul  Allemand.  J'ai  vu  une  demoiselle 
americaine,  fille  d'un  professeur  de  Princeton,  qui  fait  partie  de  cette  mission. 
Elle  m'a  dit  que  Ton  procederait  d'abord  par  une  ceremonie :  the  rite  of  cleansing 
the  uns' home  with  lustral  water.  Mais  tout  cela  est  vide  de  sens;  et  je  pense 
que  vous  devez  passer  de  bien  mauvais  moments,  et  qu'il  est  hors  de  saison  d' 
essayer  de  rire.  Je  crois  bien,  cependant,  que  vous  avez  du  remarquer  que  le 
Frangais  aime  beaucoup  rire,  meme  dans  les  ombres  de  la  vallee  de  la  mort  ..." 

It  is  interesting  to  observe  that  this  Frenchman  does  not  take  the  symbolism 
of  the  ceremony  which  the  Red  Cross  had  planned,  as  seriously  as  the  Americans 
do.  That  such  a  rite  seems  trivial,  given  the  sufferings  of  the  French,  cannot 
be  denied:  "  lustral  water  "  could  not  cleanse  France  from  the  Huns!  Perhaps 
there  is  an  excuse  for  those  who  were  for  so  long  in  actual  contact  with  the  real 
ities  of  War,  if  they  felt  the  absurdity  of  such  a  ceremony  at  that  time.  One 
does  not  dance  in  a  house  of  mourning:  but  one  could  not  condemn  dancing 
itself,  if  a  few  misguided  individuals  were  to  attempt  it. 

In  America,  then,  we  have  three  types  of  pageantry  —  or,  rather,  two,  one  of 
which  is  subdivided.  We  share  with  England  and  the  Continent,  the  procession 
with  moving  platforms  on  which  historical  and  symbolical  figures  are  carried 
through  the  streets;  we  share  with  England  the  historical "  community-drama," 
modified  on  Parkerian  lines  from  the  German  Erinnerungsspiele;  and  the  more 
restricted  "  festival "  (less  commonly  found  in  England)  which  approaches 
sometimes  the  masque,  and  at  others  the  "  pageant-play." 

Broadly  speaking,  there  is  pageantry  whenever  people  dress  up  to  represent 
something  they  are  not,  in  real  life.  Thus,  we  find  pageantry  in  a  Lord  Mayor's 
Show  of  1913,  which  includes  Sir  Thomas  Middleton  :  we  do  not  find  pageantry 
in  a  civic  procession  of  1915,  which  includes  heroes  back  from  the  Flanders  front. 
In  the  first,  we  have  someone  representing  an  historical  character;  in  the  second, 
we  have  history  itself. 

But  the  above  definition,  taken  alone,  would  admit  a  carnival  procession,  or 
a  fancy-dress  ball,  into  the  realm  of  pageantry.  I  have  already  called  these  the 


CONCLUSION  301 

"  raw-material  "  of  the  pageant,  and  have  stated  that  what  kept  them  out  of 
our  field  was  the  lack  of  unity  exhibited  by  such  a  spectacle.  Some  of  the  Lord 
Mayor's  Shows  —  when  that  procession  was  at  its  lowest  artistic  level  —  sug 
gested  a  carnival ;  the  final  tableau  of  a  Parkerian  pageant  would  suggest  a  fancy- 
dress  ball,  had  there  not  been  preceding  scenes,  which  found  a  unity  in  the  town, 
the  history  of  which  had  just  been  set  forth.  The  primary  aim  of  the  Parkerian 
work  was  to  depict  this  history;  but  the  discovery  was  made  that  in  so  doing,  a 
community  solidarity  was  developed,  which,  like  many  by-products,  became 
almost  as  important  as  the  main  product. 

In  America,  sociologists,  and  propagandists  of  all  sorts,  have  seized  upon  the 
by-product  as  a  fulcrum  from  which  to  apply  their  "  uplift."  Placing  a  strong 
emphasis  on  the  necessity  of  imagination  in  dealing  with  present-day  problems 
of  American  life,  and  intent  on  distributing  as  much  imagination  as  possible 
among  the  population  of  our  country,  many  pageant-masters  and  pageant- 
writers  show  a  tendency  to  exchange  history  for  symbolism,  allegory,  and  name 
less  type-figures.  The  danger  of  this  development  is,  that  fact  may  become  so 
diluted  with  imagination,  that  it  will  fail  to  awaken  a  community  spirit.  When 
we  show  an  historical  scene,  we  must  use  historical  characters;  when  we  replace 
the  Puritan  and  the  Indian  by  Civilization  and  the  Wilderness,  the  scene,  ceas 
ing  to  be  historic,  becomes  symbolic.  Symbolism  and  allegory  tend  to  express 
themselves  by  the  dance,  and  no  community  can  be  spurred  to  civic  endeavor 
by  frisking  figures  of  Faith,  Hope,  and  Charity !  Unless  the  symbolism  is  kept 
subordinate,  the  interest  in  the  pageant  will  wane,  and  the  production  will  be 
come  a  "  festival  "  -  given  only  by  a  small  group  in  the  community. 

Important  as  the  spectacular  element  in  pageantry  is,  it  is  by  no  means  the 
most  important.  Mr.  Percy  MacKaye  lays  great  stress  on  "  the  handsomeness 
of  war  "  in  his  suggestion  that  community  drama  could  prove  a  substitute  for 
war.1  "  Statesmen  and  military  leaders,"  he  writes,  "  utilize  the  full  potency 
of  the  imaginative  arts  born  of  the  theatre,  and  employ  for  their  ends  the  ecstasy 
and  pomp  of  music  and  pageantry  with  a  perfection  of  '  stage  management ' 
that  would  stagger  a  Reinhardt.  Symbolism  they  call  to  their  aid,  to  provide 
for  patriotism  her  radiant  flags  and  uniforms.  The  art  of  the  music-maker  peals 
in  brass  to  the  multitude.  Poetry  and  dance  stride  forth,  like  strange  colossi,  in 
the  public  squares,  exhorting  the  populace  with  rhythms  of  marching  regiments, 
that  leap  forth  like  glorious  stanzas  on  the  breath  of  the  rhapsodist.  A  choral 
shout  —  as  old  as  the  chanting  of  Homer  —  invokes  and  unifies  the  nation." 
The  armies  of  peace,  as  he  calls  the  social  workers,  "  have,  with  few  exceptions 
no  adequate  symbols  of  their  service  —  no  banners,  uniforms,  fighting  hymns, 
rhythmic  marches,  pageantry  of  spiritual  meanings  made  sensuous  ....  Drab 
—  that  is  their  disease."  2.  As  a  "  moral  equivalent  "  of  war,  Mr.  MacKaye 
suggests  the  community  drama:  "  The  present  time  is  peculiarly  auspicious  for 

1  A  Substitute  for  War,  pp.  26  ff.  2  A  Substitute  for  War,  p.  35. 


302  ENGLISH  PAGEANTRY 

this  widened  civic  scope  of  the  theatre's  art.  On  the  one  hand,  that  art  itself  — 
rekindled  from  within  by  the  constructive  discoveries  of  its  creative  artists  in 
production,  architecture,  music,  and  the  dance  —  stands  at  the  threshold  of  a 
splendid  renascence.  On  the  other  hand  —  stirred  from  within  by  the  porten 
tous  menace  of  world  war  —  civic  ardor  has  never  been  more  deeply  roused  than 
now  to  discover  effectual  means  for  combating  the  enemies  of  society  —  poverty, 
disease,  unemployment,  political  corruption,  and  all  the  hosts  of  embattled  ig 
norance.  To  this  war  against  all  social  and  economic  causes  of  war  dramatic  art 
offers  a  popular  symbolism  of  magnificent  scope  and  variety;  it  offers  a  new 
method  of  social  science."  1  Mr.  MacKaye's  aim  is  that  of  Mr.  Parker  —  per 
haps  carried  to  a  further  development  —  but  his  method  differs :  for  Mr.  Parker, 
basing  his  pageants  on  history,  sought  to  give  an  artistic  performance  which 
would  leave  the  town  better  for  having  taken  part  in  it;  Mr.  MacKaye,  empha 
sizing  symbolism,  seeks  to  give  an  artistic  performance  which  will  not  only  leave 
the  community  more  closely  knit,  but  will  also  organize  militant  social  service 
as  an  effectual  substitute  for  war.  The  future  alone  can  show  whether  history 
or  symbolism  will  prove  the  more  potent  force. 

The  greatest  change  between  the  older  and  newer  forms  of  pageantry  — 
greater  even  than  that  of  technique  —  is  this  change  in  purpose.  The  pageantry 
of  the  past  existed  chiefly  to  entertain  the  crowds;  it  was  as  innocent  of  an  ul 
terior  motive  as  were  the  early  folk-plays,  which  unconsciously  kept  alive  pre- 
Christian  customs.  There  was,  however,  in  these  old  shows,  a  certain  allegorical 
and  historical  element  which  indicates  that  the  pageantic  "  dressing-up  "  was 
not  wholly  purposeless.  Often  it  was  appropriate  in  the  case  of  the  "  royal- 
entries  ";  often  it  recalled  the  past,  in  the  case  of  the  Lord  Mayor's  Shows. 
But  its  chief  aim  was  not  instruction. 

That  of  the  present  mingles  with  its  entertainment  a  desire  to  educate,  to 
spur  on  to  better  things.  It  seeks  to  inspire  a  greater  community  spirit,  to 
awaken  a  local  patriotism.  Being  a  form  of  art  very  close  to  the  people,  it  re 
flects  the  spirit  of  the  age  closely,  and  for  this  reason,  if  for  no  other,  is  it  worth 
studying.  The  instincts  to  which  pageantry  appeals  are  deep-rooted;  and  it  is 
instructive  to  watch  the  development  of  these  instincts  in  a  people.  There  is,  it 
must  be  admitted,  a  tendency,  in  the  United  States,  at  any  rate,  to  take  from 
pageantry  the  spontaneous  and  unconscious  charm  of  folk-custom,  and  render 
it  too  sophisticated  and  unnatural  under  the  chaperonage  of  pageant  associations 
and  similar  conventionalizing  groups;  but  perhaps  this,  also,  is  in  the  spirit 
of  the  age. 

Dangerous  as  it  is  (from  the  point  of  view  of  pageantry)  to  produce  those 
shows  which  can  be  fitted  or  adapted  to  any  place  —  as  the  Canterbury  Pilgrims 
were  made  applicable  to  Gloucester,  Massachusetts  —  Mr.  MacKaye's  article 


1  A  Substitute  for  War,  pp.  42  ff. 


CONCLUSION  303 

on  The  New  Fourth  of  July,  in  the  Century  Magazine  for  July,  1910  (pp.  394  ff.), 
has  some  interesting  suggestions  for  fitting  pageantry  to  an  Independence  Day 
celebration  in  any  community.  Taking  the  Pittsburgh  celebration  as  a  basis, 
the  writer  advocates  an  application  to  other  cities  of  the  processional  pageant, 
a  children's  parade,  an  historical  military  parade,  folk-  and  pantomime  pageants, 
etc.,  all  of  which  are  described  and  outlined.  It  is  worthy  of  note  that  Mr. 
MacKaye  emphasizes  the  desirability  of  attaching  to  such  a  celebration  what 
ever  of  local  history  or  custom  would  tend  to  give  it  individuality:  and  urges 
each  community  to  "  make  much  of  the  tradition  of  your  own  locality."  In 
these  days  of  standardization  for  the  sake  of  efficiency,  it  is,  perhaps,  to  be  ex 
pected  that  pageants  will  tend  to  be  machine-made. 

Pageantry  is  nothing  new,  though  the  modern  pageant  is  not  a  revival  of  the 
earlier.  Both  are  only  different  expressions  of  the  same  desires.  The  modern 
pageant  is  a  higher  form  of  art,  having  unity;  but  it  lacks  the  spontaneity  of 
folk-custom.  The  community,  not  the  guild,  is  the  center  around  which  it  is 
built;  its  history  and  symbolism  deal  with  the  town,  not  with  the  craft.  The 
fact  that  people  look  to  it  for  education  and  inspiration,  puts  a  responsibility 
on  the  modern  pageant-master  which  the  writers  of  the  earlier  shows  did  not 
bear.  Yet  these  processions  of  older  times  played  an  important  part  in  the  life 
of  England  from  the  days  of  Chaucer  to  those  of  Dryden. 

Pageantry,  both  of  the  past  and  of  the  present,  has  been  connected  with  the 
celebration  of  some  event.  At  first,  this  event  was  a  folk-festival,  or  a  Church 
holy-day;  the  welcome  of  a  sovereign,  or  the  installation  of  a  mayor;  now  it  is 
a  national  holiday  or  some  civic  anniversary.  In  addition,  pageantry  is  more 
and  more  being  used  to  give  publicity  to  some  idea  —  as  a  form  of  propaganda. 
Our  review  of  the  subject  has  been  chiefly  a  review  of  the  centuries  in  holiday 
mood;  and,  as  Bacon  has  said,  "  such  shews  .  .  .  are  not  to  be  neglected." 

At  all  times —  from  the  earliest  "  Midsummer  Show  "  down —  pageantry  has 
been,  to  use  Mr.  Percy  MacKaye's  phrase,  "  poetry  for  the  masses." 


BIBLIOGRAPHY 


BIBLIOGRAPHY' 


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Craig,  Algernon  Tudor,  see  Army  Pageant. 

Craig,  Anna  Throop,  see  Irish  Historical  Pageant. 

Craig,  Hardin.  Two  Coventry  Corpus  Christi  Plays.  Edited  for  EETS  by  H.  Craig.  London, 
1902. 

Crawford,  J.  R.,  and  Mary  P.  Beegle.  Community  Drama  and  Pageantry.  New  Haven 
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[Croke,  Sir  George].  The  Reports  of  Sir  George  Croke,  Knight,  Late  one  of  the  Justices  of  the 
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in  English  by  Sir  Harebotle  Grimston,  Baronet  .  .  .  London,  1657. 

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Cunningham,  F.,  see  Jonson. 

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Society  of  Massachusetts  for  March,  1909. 

Cunningham,  Peter.  "  Extracts  from  the  Accounts  of  the  Revels  at  Court,"  &c.  [Publ.  Shaks. 
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Current  Newspapers.  The  contemporary  accounts  of  pageants  in  the  London  Post-Boy ',  Daily 
Post,  Evening-Post,  Standard,  Times,  Graphic,  Illustrated  London  News,  City  Press,  Era, 
Morning  Star,  Pictorial  News,  &c.;  the  Paris  Illustration,  the  New  York  Evening  Post, 
Times,  the  Boston  and  other  American  papers,  give  much  interesting  information  on  the 
subject.  I  have  indicated,  at  various  points  in  the  text,  my  indebtedness  to  these  sources. 

Dallin,  Mrs.  Colonna  (Murray),  see  Arlington. 

Dana,  R.  H.,  Jr.    Two  Years  before  the  Mast.    New  York,  1841. 

Davey,  Richard.    The  Pageant  of  London.    (2  vols.),  London,  1906. 

[This  book,  illustrated  by  John  Fulleylove,  is  a  history  of  London,  giving  much  infor 
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Davidson,  Charles.    English  Mystery  Plays.    New  Haven,  1892. 

Davies,  R.    Extracts  from  the  Municipal  Records  of  the  City  of  York.    London,  1843. 

Davies,  Richard.  Chester's  Triumph  in  honor  of  her  Prince.  As  it  was  performed  upon  S. 
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Dekker,  Thomas. 

The  Magnificent  Entertainment,  given  to  King  James,  Queene  Anne  his  wife,  and 
Henry  Frederick  the  Prince,  vpon  the  day  of  his  Majesties  Tryumphant  Passage  (from 
the  Tower)  through  his  Honourable  Citie  (and  Chamber)  of  London,  being  the  15.  of 
March  1603.  As  well  by  the  English  as  by  the  Strangers:  With  the  speeches  and  Songes 
deliuered  in  the  seuerall  Pageants  .  .  .  Tho.  Dekker.  London,  1604.  [Gh,  B,  BM] 

[A  second  edition  (entitled  The  Whole  Magnify  cent  Entertainment,  etc.,  "  printed  at 
London  by  E.  Allde  for  Tho.  Man  the  yonger,  1604  ")  is  in  B  (Gough  Lond.  122.  3  and 
Douce  D.  206);  this  is  reprinted  in  Somers,  Tracts  (1751)  third  collection,  i,  p.  116;  ibid., 
(1810),  iii,  p.  i;  Prog.  James,  i,  p.  337  f.  Another  edition  was  printed  at  Edinburgh  in 
1604;  this  is  in  BM  (C.  33.  d.  26).  On  the  fly  leaf  of  the  BM  copy  is  a  pencilled  note: 


312  BIBLIOGRAPHY 

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(Show  for  1612}.  Troia  Nona  Triumphans.  London  Triumphing,  or  the  Solemne  .  .  . 
Receiuing  of  ...  Sir  John  Swinerton  .  .  .  into  the  Citty  of  London  .  .  .  the  29.  of 
October,  1612.  All  the  Showes,  Pageants,  Chariots  of  Triumph,  with  other  Deuices  (both 
on  the  Water  and  Land)  here  fully  expressed.  By  Thomas  Dekker.  London,  1612. 
[BM,  B.  Reprinted  in  Fairholt,  Lord  Mayor's  Pageants,  pt.  ii,  p.  7;  cf.  J.  G.  Nichols, 
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(Show  for  1628).  Brittannia's  Honor:  Brightly  Shining  in  seuerall  Magnificent  Shewes 
or  Pageants,  to  celebrate  the  Solemnity  of  ...  Richard  Deane,  At  his  Inauguration  into 
the  Majoralty  ...  on  Wednesday,  October  the  zgth.  1628.  At  the  particular  Cost  and 
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(Show  for  1629).  Londons  Tempe,  or  the  Feild  [sic]  of  Happiness.  In  which  Feild  are 
planted  seuerall  Trees  of  Magnificence,  State  and  Bewty,  to  celebrate  the  Solemnity  of 
.  .  .  James  Campebell,  At  his  Inauguration  into  the  Honorable  Office  of  Praetorship,  or 
Maioralty  of  London,  on  Thursday  the  29  of  October,  1629.  All  the  particular  Inuentions, 
for  the  Pageants,  Showes  of  Triumph,  both  by  Water  and  land  being  here  fully  set  downe, 
At  the  sole  Cost  and  liberall  Charges  of  the  .  .  .  Ironmongers.  Written  by  Thomas 
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The  BM  copy  is  not  perfect;  after  14  pp.  of  print  come  four  of  MS,  preceded  by  a 
pencilled  note:  "  Written  by  the  late  Mr.  Rhodes  &  to  be  implicitly  trusted."  On  the 
fly  leaf:  "  Given  to  me  by  the  Duke  of  Devonshire  after  I  had  procured  him  a  perfect 
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Delpit,  J.    Collection  generate  des  documents  franqais  qui  se  trouvent  en  Angleterre.    Paris,  1847. 

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Dickinson,  Thomas  H.  "  The  Pageant:  a  Study  of  its  History,  Principles,  Structure  and 
Social  Uses,"  in  The  Play-Book  for  September,  1914.  Madison  (Wisconsin),  1914. 

Dictionary  of  Faiths  and  Folk-Lore,  see  Brand. 

Ditchfield,  P.  H.    Old  English  Customs  Extant  at  the  Present  Time.    London,  1896. 

Dodsley,  see  Cooke. 

Douet-d'Arcq,  see  Monstrelet. 

Dover  Pageant.    Louis  N.  Parker,  Master.    27  July-i  August,  1908.    Book  of  Words.    Dover, 
1908. 

Drake,  Francis.  Eboracum;  or,  the  History  and  Antiquities  of  the  City  of  York,  &c.  London, 
1736. 

Drake,  Nathan.    Shakespeare  and  his  Times.    (2  vols.),  London,  1817. 

[Dublin].    See  Gilbert,  and  Molloy. 

Dugdale,  Gilbert.  The  Time  Triumphant,  Declaring  in  briefe,  the  ariual  of  our  Soueraigne 
Hedge  Lord,  King  lames  into  England,  His  Coronation  at  Westminster:  Together  with 
his  late  royal  progresse,  from  the  Towre  of  London  through  the  Cittie,  to  his  Highnes 
manner  of  White  Hall.  Shewing  also,  the  Varieties  and  Rarieties  of  al  the  sundry  Tro 
phies  or  Pageants,  erected  aswel,  by  the  worthy  Cittizens  of  the  honorable  Cittie  of 
London:  as  also  by  certaine  of  other  Nations  ...  By  Gilbert  Dugdale.  London,  1604. 
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Dunbar,  William.    Poems.     [Ed.  Laing.]     (2  vols.),  Edinburgh,  1834. 

Dupuys,  Remy.  La  Triomphante  et  Solennelle  Entree  de  Charles-Quint  en  sa  mile  de  Bruges, 
le  18  Avril  1515.  (Illustrated.)  Bruges,  1850.  [Reprinted  from  a  contemporary  volume 
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Dybdynne,  Thomas.  A  Ryghte  Sorroweful  Tragyke  Lamentacyonne  for  ye  Losse  of  My  Lorde 
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Dyce,  see  Middleton,  Peele,  and  Webster. 

Eager,  see  Boston. 

[Edinburgh].  Extracts  from  the  Records  of  the  Burgh  of  Edinburgh,  1403-1589.  (With  index, 
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Documents  relative  to  the  Reception  at  Edinburgh  of  the  Kings  and  Queens  of  Scotland, 
A.D.  MDLXI-A.D.  MDCL.  Published  by  the  Bannatyne  Club.  [The  documents  are 
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Elder,  John.  The  Copie  of  a  Letter  sent  in  to  Scotlande,  of  the  ariuall  and  landynge,  and  most 
Noble  Marryage  of  the  most  Illustre  Prynce  Philippe,  Prynce  of  Spaine,  to  the  most  excellente 
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[Elizabeth].    See  Hayward,  J.  Nichols,  Furnivall,  and  Garter.    Also, 

The  Honorable  Entertainment  gieuen  to  the  Queenes  Maiestie  in  Progresse,  at  Eluetham 
in  Hampshire  by  .  .  .  the  Earle  of  Hertford.    1591.    London,  1591.    [BM,  C.  33.  e.  7.  (p)] 
The  Passage  of  our  most  drad  soueraigne  lady  Quene  Elyzabeth  through  the  Citie  of  London 
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The  Roy  all  Passage  of  her  Maiesty  from  the  Tower  of  London,  to  her  Police  of  Whitehall 
with  all  the  Speaches  and  Deuices,  both  of  the  Pageants  and  otherwise,  together  with  her 
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p.  172. 

Ellis,  Sir  Henry,  editor.  Ceremonial  of  the  Marriage  of  Mary,  Queen  of  Scots  .  .  .  with  the 
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Grosley,  Pierre  Jean.    Londres.     (3  vols.),  Lausanne,  1770. 
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Hearne.    See  Elmham,  and  Sprott. 
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an  Original  Manuscript  of  the  late  ingenious  and  facetious  Orator  John  Henley,  M.A. 

"  Surely  every  Man  walketh  in  a  vain  Shew."    Psalm  xxxix:  6.    London,  n.  d.     [BM, 

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[Henry  V].    See  Cole,  Elmham,  Kingsford,  and  B.  Williams. 
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[Henry  VIII].    See  Brewer,  and  Baron  Edward  Herbert. 
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Hertford  Pageant  in  connection  with  the  Millenary  Celebration,  914-1914.    29  June-4  July, 

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Heywood,  Thomas.    Dramatic  Works.     (6  vols.),  London,  1874. 

(Show  for  1631}.   Londons  lus  Honorarium.   Exprest  in  sundry  Triumphs,  pagiants  and 

shews:  At  the  Initiation  or  Entrance  of  ...  George  Whitmore,  into  the  Mayoralty  of 

the  .  .  .  City  of  London.    All  the  charge  and  expence  of  the  laborious  proiects,  and 

obiects  both  by  Water  and  Land,  being  the  sole  vndertaking  of  the  .  .  .  society  of 

Habburdashers.  London,  1631.  [B;  Heywood's  name  does  not  appear  on  the  title-page, 

but  he  signs  the  Epistles  Dedicatory  to  Mayor  and  Sheriffs.    The  show  is  reprinted  in  his 

Works,  iv,  pp.  263 f.;  cf.  Greg,  p.  10;  J.  G.  Nichols,  p.  104;  Fairholt,  pt.  i,  p.  54;  J.  Nichols 

in  Gent.  Mag.,  for  November,  1824,  p.  412.] 

(Show  for  1632).    Londini  Artium  et  Scientiarum  Scaturigo.    [I  have  not  seen  a  copy  of 

this  pamphlet.    Cf.  Greg,  p.  10;  J.  G.  Nichols,  p.  105;  J.  Nichols,  in  Gent.  Mag.,  for 

November,  1824,  p.  412;  Fairholt,  pt.  i,  p.  57;  Hone,  p.  267.] 

(Show  for  1633).    Londini  Emporia,  or  London's  Mercatura.    [I  have  not  seen  a  copy 

of  this  pamphlet,  either.    These  shows  are  not  reprinted  in  the  1874  edition  of  Heywood's 

Works;   but  cf.  Greg,  J.  Nichols,  J.  G.  Nichols,  and  Fairholt,  as  cited  above  —  and 

Herbert,  ii,  p.  659.] 

(Show  for  1635).    Londini  Sinus  Salutis.   [Reprinted  in  Works,  iv,  pp.  283  f.;  cf.  Greg, 

p.  10 ;  J.  G.  Nichols,  p.  105  —  referring  to  Malcolm,  ii,  p.  45  —  Fairholt,  pt.  i,  p.  58;  Gent. 

Mag.,  for  November,  1824,  p.  413.] 

(Show  for  1637}.    Londini  Speculum:  or,  Londons  Mirror,  Exprest  in  sundry  Triumphs, 

Pageants  and  Showes,  at  the  Initiation  of  ...  Richard  Fenn  into  the  Mairolty  of  ... 

London.    All  the  Charge  and  Expence  of  these  laborious  projects  both  by  Water  and 


318  BIBLIOGRAPHY 

Land,  being  the  sole  undertaking  of  the  . . .  Habberdashers.  Written  by  Tho.  Heywood. 
London,  1637.  [Gh,  B.  Reprinted  in  Works,  iv,  pp.  301  f.;  cf.  Greg,  p.  10;  J.  G.  Nichols, 
p.  106;  Fairholt,  pt.  i,  p.  59;  Gent.  Mag.,  for  November,  1824,  p.  413.] 

(Show  for  1638).  Porta  Pietatis,  or  The  Port  or  Harbour  of  Piety,  Exprest  in  Sundry 
Triumphes,  Pageants,  and  Shewes,  at  the  Initiation  of  ...  Sir  Maurice  Abbot,  Knight, 
into  the  Mayoralty  of  ...  London.  All  the  Charge  and  expence  of  the  laborious  Pro 
jects  both  by  water  and  Land  being  the  sole  undertaking  of  the  .  .  .  Drapers.  Written 
by  Thomas  Heywood  .  .  .  London,  1638.  [SA,  Gh,  B,  BM.  Reprinted  in  Fairholt, 
pt.  ii,  p.  57;  in  Works,  v,  pp.  259^  Cf.  Greg,  p.  n;  J.  G.  Nichols,  p.  106;  Fairholt,  pt.  i, 
p.  60,  and  Gent.  Mag.,  for  November,  1824,  p.  413.] 

(Show  for  1639).  Londini  Status  Pacatus:  or,  Londons  Peaceable  Estate.  Exprest  in 
sundry  Triumphs,  Pageants,  and  Shewes,  at  the  Innitiation  of  ...  Henry  Garvvay, 
into  the  Majoralty  of  ...  London.  All  the  the  Charge  and  Expence,  of  the  laborious 
Projects  both  by  Water  and  Land  being  the  sole  undertakings  of  the  .  .  .  Drapers. 
Written  by  Thomas  Heywood.  London,  1639.  [BM,  B,  Gh.  Reprinted,  Works,  v, 
pp.  355  f.;  cf.  Greg,  p.  n;  J.  G.  Nichols,  p.  106;  Fairholt,  pt.  i,  p.  60;  Gent.  Mag.,  for 
November,  1824,  p.  413.] 

Historical  Account  of  his  Majesty's  Visit  to  Scotland,  see  George  IV. 

[Hoare,  Richard],  A  Journal  of  the  Shrievalty  of  Richard  Hoare,  Esq.,  in  the  years  1740-41. 
Printed  from  a  MS.  in  his  own  handwriting.  Bath,  1815. 

Holinshed,  Raphael.    Chronicles.     (6  vols.),  London,  1808. 

Hollis  Hall  Pageant.  George  P.  Baker,  Author  and  Master.  14  June,  1913,  at  Hollis  Hall,  in 
the  Harvard  College  Yard.  Cambridge  (Massachusetts),  1913.  [HL]. 

Hone,  William.    Ancient  Mysteries  Described.    London,  1823. 

Hooker,  Brian.  ''  The  Pageant,"  in  the  (illustrated)  supplement  to  The  Yale  Alumni  Weekly 
for  27  October,  1916.  (New  Haven,  Connecticut.) 

Horton,  D.  "  The  Drama  of  the  Powers,"  in  The  Historical  Outlook  (Philadelphia)  for 
March,  1919. 

Hotton,  John  C.,  see  Larwood. 

Howes,  E.,  see  Stow,  Annals. 

Hudson,  Gilbert,  see  Pickering  and  Scarborough. 

Hudson,  Rev.  William,  and  J.  C.  Tingey,  editors.  Records  of  the  City  of  Norwich.  (2  vols.), 
Norwich  and  London,  1906-10. 

Hudson-Fulton  Celebration.  New  York,  1909.  [Post-card  illustrations  of  floats  in  HL.  For 
a  description  of  this  pageant,  see  Wier's  article,  listed  below.] 

Humpherus,  Henry.  History  of  the  Origin  and  Progress  of  the  Company  of  Watermen  and 
Lightermen.  (3  vols.),  London,  n.  d. 

Irish  Historic  Pageant.  An  Dhord  Fhiann.  Anna  T.  Craig.  Produced  at  New  York,  7  and 
8  May,  1913.  [New  York,  1913.] 

Ironmongers,  see  Nicholl. 

Irvine,  J.  H,  see  Chelsea. 

Ives,  John.  Select  Papers,  &c.  London,  1773.  [Reprints  of  MSS.  in  the  possession  of  the 
editor.] 

Jackson,  John,  Jr.     The  History  of  the  City  and  Cathedral  of  Lichfteld.    (2  vols.),  Lichfield 

[i79S-] 

[James  I].    See  Dugdale,  Dekker,  Jonson,  Harrison,  Millington,  and  J.  Nichols. 

[James  II].  An  Account  of  the  Ceremonial  at  the  Coronation  of  their  Most  Excellent  Majesties 
King  James  II  and  Queen  Mary  At  Westminster  the  23  of  April,  1685  .  .  .  London,  1685 
[A  broadside  in  B  (Gough  Midd.  32) ;  no  pageantry  was  connected  with  this  ceremony.] 


BIBLIOGRAPHY  319 

Jarman,  Herbert,  see  St.  Albans. 

Jeffrey,  see  Preston. 

Jones,  Stephen.  Biographic  Dramaiica.  [Originally  compiled  by  David  E.  Baker.]  London, 
1812. 

Jonson,  Ben.  Works.  Edited  by  William  Gifford  and  F.  Cunningham.  (3  vols.),  London, 
n.d. 

Jon[son],  B[en].  His  part  of  King  James  his  Royatt  and  Magnificent  Entertainement  through 
his  Honorable  Cittie  of  London,  Thursday  the  15.  of  March,  1603;  so  much  as  was  presented 
in  the  first  and  last  of  their  Triumphall  Arch's  .  .  .  London,  1604.  [Gh,  B.] 

Jordan,  Thomas. 

(Show  for  1671).  London's  Resurrection  to  Joy  and  Triumph,  Expressed  in  Sundry 
Shews,  Shapes,  Scenes,  Speeches  and  Songs  in  Parts,  Celebrious  to  the  much-meriting 
Magistrate  Sir  George  Waterman  Knight,  Lord  Mayor  of  ...  London.  At  the  Peculiar 
and  Proper  Expences  of  the  .  .  .  Skinners.  The  King,  Queen  and  Duke  of  York  and 
most  of  the  Nobility  being  present.  Written  by  Tho.  Jordan.  London,  MDCLXXI. 
[Gh,  HL,  BM,  B  (4  copies);  reprinted  in  Fairholt,  pt.  ii,  p.  113.  Cf.  Fairholt,  pt.  i,  p.  74; 
J.  G.  Nichols,  p.  no;  Wadmore,  p.  148.] 

(Show  for  1672).  London  Triumphant:  or  the  City  in  Jollity  and  Splendour:  Ex 
pressed  in  various  Pageants,  Shapes,  Scenes,  Speeches  and  Songs.  Invented  and  per 
formed  for  Congratulation  and  Delight  of  ...  Sir  Robert  Hanson,  Knight,  Lord  Mayor 
of  ...  London.  At  the  Cost  and  Charges  of  the  .  .  .  Grocers.  His  Majesty  Gracing 
the  Triumphs  with  His  Royal  Presence.  Written  by  Tho.  Jordan.  London,  1672,  [Gh, 
BM  (2  copies);  B  (2  copies);  reprinted  in  the  appendix  of  Heath  (3d  edition),  pp.  488 f. 
Cf.  Fairholt,  pt.  i,  pp.  74  f.;  J.  G.  Nichols,  p.  no.] 

(Show  for  1673).  London  in  its  Splendor:  consisting  of  Triumphant  Pageants,  whereon 
are  Represented  many  Persons  Richly  Arrayed,  Properly  Habited,  and  significant  to  the 
Design.  With  several  Speeches,  and  a  Song,  Suitable  to  the  Solemnity.  All  prepared  for 
the  Honour  of  the  Prudent  Magistrate,  Sir  William  Hooker,  Kt,  Lord  Mayor  of  ... 
London:  at  the  Peculiar  Expences  of  the  .  .  .  Grocers.  As  also,  a  Description  of  His 
Majesties  Royal  Entertainment  at  Guildhall,  by  the  City,  in  a  plentiful  Feast,  and  a 
glorious  Banquet.  Written  by  Tho.  Jordan.  London,  1673.  [Gh,  B  (2  copies,  one 
imperfect);  reprinted  by  Heath  (3d  edition,  appendix,  pp.  507 f.)  Cf.  Fairholt,  pt.  i, 
pp.  79  f.;  J.  G.  Nichols,  p.  in.] 

(Show  for  1674).  The  Goldsmiths  Jubile:  or  London's  Triumphs:  Containing  a  Des 
cription  of  the  several  Pageants:  on  which  are  Represented  Emblematical  Figures, 
Artful  Pieces  of  Architecture,  and  Rural  Dancing:  with  the  Speeches  spoken  on  each 
Pageant.  Performed  Octob.  29,  1674  for  the  Entertainment  of  ...  Sir  Robert  Vyner, 
Kt.  and  Bart.,  Lord  Mayor  of  ...  London:  At  the  proper  Costs  and  Charges  of  the 
.  .  .  Goldsmiths.  The  Kings  Most  Sacred  Majesty  and  his  Royal  Consort  .  .  .  honour 
ing  the  City  with  Their  Presence.  Composed  by  Tho.  Jordan.  London,  1674.  [SA,  B. 
In  the  BM  are  two,  and  in  the  Gh,  one,  of  the  1835  reprints.  Cf.  Fairholt,  pt.  i,  pp.  8if.; 
pt.  ii,  p.  vi;  J.  G.  Nichols,  p.  in.] 

(Show  for  1675).  The  Triumphs  of  London,  Performed  on  Friday,  Octob.  29,  1675, 
for  the  Entertainment  of  ...  Sir  Joseph  Sheldon,  Kt.,  Lord  Mayor  of  ...  London. 
Containing  a  true  description  of  the  several  Pageants,  with  the  Speeches  spoken  on  each 
Pageant.  Together  with  the  Several  Songs  sung  at  this  Solemnity.  All  set  forth  at  the 
proper  Costs  and  Charges  of  the  .  .  .  Drapers.  Designed  and  Composed  by  Tho. 
Jordan,  Gent.  London,  1675.  [Gh,  B  (2  copies),  BM  (3  copies  —  one  lacking  the  title- 
page).  Cf.  Fairholt,  pt.  i,  pp.  84  f.;  J.  G.  Nichols,  p.  in.] 


320  BIBLIOGRAPHY 

(Show  for  1676).  London's  Triumphs:  Express'd  in  sundry  Representations,  Pageants 
and  Shows,  performed  on  Monday,  Octob.  30.  1676,  at  the  Inauguration  and  Instalment 
of  ...  Sir  Thomas  Davies,  Kt.,  Lord  Mayor  of  ...  London.  Containing  a  true 
Description  of  the  Several  Scenes  and  Habits  of  the  Representers,  with  the  Speeches 
spoken  on  each  Pageant.  All  the  Charge  and  Expences  of  the  Industrious  Designs  being 
the  sole  Undertakings  of  the  .  .  .  Drapers,  being  the  Second  Year  without  Intermission. 
Devised  and  Composed  by  Tho.  Jordan.  London,  1676.  [Gh.  Cf.  Fairholt,  pt.  i, 
pp.  85  f.;  J.  G.  Nichols,  p.  112.] 

(Show  for  1677).  London's  Triumphs:  Illustrated  with  many  Magnificent  Structures 
&  Pageants.  On  which  are  orderly  advanced  Several  Stately  Representations  of  Poetical 
Deities,  sitting  and  standing  in  great  Splendor  on  several  Scenes  in  Proper  Shapes,  with 
Pertinent  Speeches,  Jocular  Songs  (sung  by  the  City  Musick)  and  Pastoral  Dancing.  Per 
formed  October  29,  1677,  for  the  Celebration,  Solemnity  and  Inauguration  of  ...  Sir 
Francis  Chaplin,  Knight,  Lord  Mayor  of  ...  London.  All  the  Charges  and  Expences 
of  the  Industrious  Designs,  being  the  sole  Undertaking  of  the  .  .  .  Clothworkers.  De 
signed  and  Composed  by  Tho.  Jordan,  Gent.  London,  1677.  [Gh,  BM  (2  copies,  one 
imperfect),  B.  Cf.  Fairholt,  pt.  i,  pp.  87f.;  J.  G.  Nichols,  p.  112.] 

(Show  for  1678}.  The  Triumphs  of  London.  Performed  on  Tuesday  October  xxix 
1678  for  the  Entertainment  of  ...  Sir  James  Edwards,  Knight,  Lord  Mayor  of  ... 
London.  Containing  a  true  Description  of  the  several  Pageants,  with  the  Speeches 
spoken  on  each  pageant.  Together  with  the  Songs  sung  in  this  Solemnity.  All  set  forth 
at  the  Costs  and  Charges  of  the  .  .  .  Grocers.  London,  1678.  [Gh  (copy  badly 
trimmed  around  the  edges),  HL,  BM  (2  copies,  one  imperfect).  B  (2  copies).  Reprinted 
in  Fairholt,  pt.  ii,  p.  141;  Heath  (3d  edition),  appendix,  pp.  518  f.  Cf.  also  Fairholt,  pt.  i, 
p.  90;  J.  G.  Nichols,  p.  112.] 

(Show  for  1670).  London  in  Luster;  projecting  Many  bright  Beams  of  Triumph:  dis 
posed  into  Several  Representations  of  Scenes  and  Pageants.  Performed  with  great 
Splendor  on  Wednesday,  October  xxix,  1679.  At  the  Initiation  and  Instalment  of  ... 
Sir  Robert  Clayton,  Knight,  Lord  Mayor  of  ...  London.  Dignified  with  divers 
delightful  Varieties  of  Presenters,  with  Speeches,  Songs,  and  Actions,  properly  and 
punctually  described.  All  set  forth  at  the  proper  Cost  and  Charges  of  the  .  .  .  Drapers. 
Devised  and  Composed  by  Tho.  Jordan,  Gent.  London,  1679.  [Gh,  HL,  BM  (2  copies), 
B  (2  copies).  Cf.  Fairholt,  pt.  i,  p.  90;  J.  G.  Nichols,  p.  112.] 

(Show  for  1680).  London's  Glory,  or  the  Lord  Mayor's  Show:  Containing  an  Illus 
trious  Description  of  the  several  Triumphant  Pageants,  on  which  are  represented  Em 
blematical  Figures,  Artful  pieces  of  Architecture,  and  Rural  Dancing,  with  the  Speeches 
spoken  in  each  Pageant;  Also  Three  New  Songs,  the  first  in  praise  of  the  Merchant- 
Taylors,  the  second  the  Protestants  Exhortation,  and  the  third  the  plotting  Papists 
Litany,  with  their  proper  Tunes  either  to  be  Sung  or  Play'd.  Performed  on  Friday 
October  xxix.  1680.  For  the  Entertainment  of  ...  Sir  Patience  Warde,  Knight,  Lord 
Mayor  ...  At  the  proper  Costs  and  Charges  of  the  .  .  .  Merchant-Taylors.  Invented 
and  Composed  by  Tho.  Jordan,  Gent.  London,  1680.  [Gh,  HL,  BM,  B  (3  copies);  cf. 
Fairholt,  pt.  i,  pp.  92  f.;  Hone,  pp.  250  f.] 

(Show  for  1681).  London's  Joy,  or  the  Lord  Mayor's  Show:  Triumphantly  Exhibited 
in  Various  Representations,  Scenes,  and  splendid  Ornaments,  with  divers  pertinent 
Figures  and  Movements:  Performed  on  Saturday,  October  xxix.  1681.  At  the  Inaugura 
tion  of  ...  Sir  John  Moore,  Knight,  Lord  Mayor  .  .  .  With  the  several  Speeches  and 
Songs  which  were  spoken  on  the  Pageants  in  Cheapside,  and  sung  in  Guild-Hall  during 
Dinner.  All  the  Charges  and  Expences  of  the  Industrious  designs  being  the  sole  under- 


BIBLIOGRAPHY  321 

taking  of  the  .  .  .  Grocers.  Devised  and  Composed  by  Tho.  Jordan,  Gent.  London, 
1681.  [Gh,  BM  (2  copies,  one  imperfect),  B  (2  copies).  Reprinted  in  Heath  (3d  edition, 
pp.  536  f.);  cf.  Fairholt,  pt.  i,  p.  95;  J.  G.  Nichols,  pp.  112  f.] 

[  ?  Jordan,  Thomas].  The  Lord  Mayor's  Show:  being  a  Description  of  the  Solemnity  at  the 
Inauguration  of  ...  Sir  William  Pritchard,  Kt,  Lord  Mayor  of  the  City  of  London; 
President  of  the  Honourable  Artillery-Company,  and  a  member  of  the  Worshipful  Com 
pany  of  Merchant-Taylors.  Perform'd  on  Monday,  September  xxx.  1682.  With  several 
new  Loyal  Songs  and  Catches.  London,  1682.  (6  pp.)  [B  (Gough  London  122.24). 
Cf.  Fairholt,  pt.  i,  p.  97;  there  seems  to  have  been  no  pageantry  on  this  occasion.] 

It  is  doubtful  whether  Jordan  is  the  author  of  this  pamphlet,  or  the  songs  therein; 
at  any  rate,  he  does  not  claim  the  authorship  on  the  title-page,  nor  is  there  any  "  epistle 
dedicatory  "  which  he  might  have  signed. 

(Show  for  1683,  see  Triumphs  of  London.)  [Jordan  seems  to  have  planned  the  festivi 
ties  for  Sir  Henry  Tulse,  the  King's  appointee  to  the  Mayoralty  in  1683;  but  there  was 
no  pageantry,  and  it  is  not  clear  that  Jordan  wrote  more  than  a  couple  of  songs  for  the 
Mayor's  banquet.] 

(Show  for  1684).  London's  Royal  Triumph  for  the  City's  Loyal  Magistrate:  In  an 
Exact  Description  of  several  Scenes  and  Pageants,  Adorned  with  many  Magnificent 
Representations.  Performed  on  Wednesday  October  xxix.  1684.  At  the  Instalment  and 
Inauguration  of  ...  Sir  James  Smith,  Knight,  Lord  Mayor  .  .  .  Illustrated  with 
divers  Delightful  Objects  of  Gallantry  and  Jollity,  Speeches  and  Songs,  Single  and  in 
Parts.  Set  forth  at  the  proper  Costs  and  Charges  of  the  .  .  .  Drapers.  Devised  and 
Composed  by  Tho.  Jordan,  Gent.  London,  1684.  [Gh,  BM,  B.  Cf.  J.  G.  Nichols, 
p.  115;  Gillespy,  p.  64;  Fairholt  in  Gent.  Mag.  for  April,  1854,  p.  380.] 

Journal  d'un  Bourgeois  de  Paris,  see  Tuetey. 

Journal.  The  MS.  minutes  of  the  Court  of  Common  Council  of  the  Corporation  of  London. 
In  the  Guildhall  Archives. 

Jupp,  Edward  Basil.  An  Historical  Account  of  the  Worshipful  Company  of  Carpenters.  (26. 
edition,  with  a  supplement  by  W.  W.  Pocock.)  London,  1887. 

Jusserand,  J.  J.  "  A  Note  on  Pageants  and  '  Scaffolds  Hye,'  "  in  the  Furnivall  Miscellany, 
(pp.  183  f.,  with  two  illustrations.)  Oxford,  1901. 

Kelly,  William.     Notices,  6^c.,  of  Leicester.    London,  1865. 

Kelly,  William.  Ancient  Records  of  Leicester.  Read  before  the  Literary  and  Philosophical 
Society,  Leicester,  on  24  February,  1851,  and  printed  in  a  selection  of  papers  ...  in 
June,  1855.  [See  pp.  31-103.]  Leicester  and  London,  1855. 

Kelly,  William.  Royal  Progresses  and  Visits  to  Leicester,  from  the  reputed  foundation  of  the 
City  by  King  Leir,  B.C.  844,  to  the  present  time.  Leicester,  1884. 

Kemp,  Thomas.     The  Black  Book  of  Warwick.    Warwick  [1898.] 

[King,  Daniel,  publisher].  The  Vale  Royall  of  England,  &c.  Performed  by  William  Smith  and 
William  Webb,  gentlemen  .  .  .  London,  1656.  [See  Ormerod.] 

Kingdon,  John  Abernethy.  Facsimile  of  the  First  Volume  of  MS.  Archives  of  the  Worshipful 
Company  of  Grocers  of  the  City  of  London,  A.D.  1345-1463.  .  .  .  (2  vols.)  [London,]  1886. 

Kingsford,  C.  L.    Chronicles  of  London.    Oxford,  1905. 

Kingsford,  C.  L.    English  Historical  Literature.    Oxford,  1913. 

Kingsford,  C.  L.    Henry  V.    London,  1901. 

Kingsford,  C.  L.,  see  Stow,  Survey. 

Kirk,  R.  E.  G.,  see  Furnivall. 

Kittredge,  George  L.  "  Who  was  Sir  Thomas  Malory  ?  "  in  Harvard  Studies  and  Notes  in 
Philology  and  Literature  [v,  pp.  85  f.]  Boston,  1896. 


322  BIBLIOGRAPHY 

Knight  on,  Henry.    Chronicles.    Edited  by  J.  R.  Lumby.    (RS  92)  (2  vols.),  London,  1895. 

Kraus,  Carl.  "  Das  gotische  Weihnachtsspiel,"  in  Paul-Braune's  Beitrage  [xx,  pp.  224  f.] 
Halle,  1895. 

Lancaster,  Massachusetts,  Pageant.  Joseph  L.  Smith,  Master.  4  July,  1912.  [Program  in 
HL]. 

Langdon,  William  C.    See  St.  Johnsbury,  and  Thetford. 

Langford,  C.  F.,  see  West  Dorset. 

Larwood,  Jacob,  and  John  C.  Hotton.    The  History  of  Signboards.    London,  1867. 

Lascelles,  Frank.    See  Bath,  London,  Oxford,  and  Quebec. 

Lawrence,  W.  J.  "  The  Mounting  of  the  Stuart  Masques,"  in  the  English  Illustrated  Maga 
zine,  November,  1903  [illustrated].  Revised  and  reprinted,  under  the  title:  "The 
Mounting  of  the  Carolan  Masques,"  in  The  Elizabethan  Playhouse  and  Other  Studies. 
Philadelphia  and  Stratford-upon-Avon,  1912. 

Leather,  Ella  M.     The  Folk-Lore  of  Herefordshire.    Hereford  and  London,  1912. 

[Leicester].  Records  of  the  Borough  of  Leicester.  Being  a  series  of  Extracts  from  the  Archives  of 
the  Corporation  of  Leicester,  1103-1327.  Edited  by  Mary  Bateson.  Revised  by  W.  H. 
Stevenson  and  J.  E.  Stocks.  (3  vols.),  London,  1899-1901.  See  also  Kelly,  and  J.  Nichols. 

Leland,  John.    Collectanea.     (6  vols.),  London,  1770. 

Leland,  John,  see  Udall. 

Letter  Books,  see  Sharpe. 

Liber  Albus.    Edited  by  H.  T.  Riley.    (RS  12)    London,  1859-62. 

[Lichfield].     See  Harwood,  and  Jackson. 

Lichfield  Greenhill  Bower.  Official  Programs  for  the  years  1893,  1895,  1904-09,  1911-14  in 
HL.  [Gift  of  Mr.  Councillor  William  A.  Wood  of  Lichfield.] 

[Lille].    See  Rosny. 

[Little  Compton,  Rhode  Island].    See  Georgiana  B.  Withington. 

Littlehales,  H.,  editor.  The  Mediaeval  Records  of  a  London  City  Church  (St.  Mary  at  Hill),  A.D. 
1420-1559.  [EETS.  125.128.]  London,  1905. 

Liverpool's  7ooth  Anniversary  Celebrations.  Words  and  Music.  August,  1907.  Great  His 
torical  Pageant  and  Tableaux  in  Wavertree  Park  and  Grounds  .  .  .  Liverpool,  1907. 

[Lloyd,  Lod.].  Hilaria:  or  the  Triumphant  Feast  for  the.  fift  of  August.  London,  1607.  [Dedi 
cated  to  the  King  by  Lod.  Lloyd.] 

Loftie,  W.  J.,  see  Torkington. 

Logan,  W.  H.,  see  Tatham. 

Lomas,  Sophie  C.,  see  London,  Pageant  of. 

London  Magazine.     (10  vols.),  London,  1820-24.    New  Series.     (10  vols.),  London,  1825-28. 

[London,  Pageant  of].  The  Festival  of  Empire.  Frank  Lascelles,  Master.  May,  1911,  at  the 
Crystal  Palace.  Souvenir,  containing  29  Coloured  pictures;  with  Historical  Presentment 
of  the  Scenes.  Edited  by  Sophie  C.  Lomas.  London,  1911. 

[Lord  Mayor's  Coach].  Chromolithograph  of  the  coach,  with  description.  Made  in  1872. 
[Gh,  Broadsides  5.20.} 

Lord  Mayor's  Minute  Book  of  Ceremonials,  1791-1800.    [Gh,  MS.  1121.] 

[Lord  Mayor's  Show].    See  Fairholt;  J.  G.  Nichols;  and  also  Ashton. 

"  The  Lord  Mayor's  Show,"  in  Bentley's  Miscellany  (1854),  pp.  577-80.    [A  light  essay 
on  the  subject,  reflecting  an  opinion  held  by  some  today.]  London,  1854.  [Gh,  L.  P.  53.16] 

Lord  Mayor's  Shows,  see  Official  Programs. 


BIBLIOGRAPHY 


323 


Lord  Mayor's  Shows : 

A  CHRONOLOGICAL  LIST  OF  THE  AUTHORS  OF  THE   SHOWS,    1585-1708 
(The  descriptive  pamphlets  are  recorded  under  the  names  of  the  writers  in  the  bibliography) 


1588- 
I590- 
1591  • 
1605. 
1609. 
1611 . 
1612. 
1613. 
1614. 
1615. 
1616. 
1617. 
1618. 
1619. 
1620. 
1621. 
1622. 

1623. 

1624. 
1626. 
1628. 
1629. 
1631. 
1632. 

1633- 
1634. 

1635- 
1637. 
1638. 
1639. 


Peele. 

Peele. 

Nelson. 

Peele. 

Munday. 

Munday. 

Munday. 

Dekker. 

Middleton. 

Munday. 

Munday. 

Munday. 

Middleton. 

Munday. 

Middleton. 

Squire. 

Middleton. 

Middleton. 

Munday  and 

Middleton. 

Webster. 

Middleton. 

Dekker. 

Dekker. 

Heywood. 

Heywood. 

Heywood. 

Taylor. 

Heywood. 

Heywood. 

Heywood. 

Heywood. 


1655 Gayton. 

1656 Bulteel. 

1657 Tatham. 

1658 Tatham. 

1659 Tatham. 

1660.  .  .  .Tatham. 


1661 Tatham. 

1662 Tatham. 

1663 Tatham. 

1664 Tatham. 

1671 Jordan. 

1672 Jordan. 

1673 Jordan. 

1674 Jordan. 

1675 Jordan. 

1676 Jordan. 

1677 Jordan. 

1678 Jordan. 

1679 Jordan. 

1680 Jordan. 

1681 Jordan. 

1682 Jordan. 

1683 Jordan. 

1684 Jordan. 

1685 Taubman. 

1686 Taubman. 

1687 Taubman. 

1688 Taubman 

1689 Taubman. 

1691 Settle. 

1692 Settle. 

1693 Settle. 

1694 Settle. 

1695 Settle. 

1698 Settle. 

1699 Settle. 

1700 Settle. 

1701 Settle. 

1702 Settle. 

1708 Settle. 


Luard,  H.  R.,  editor.    See  Paris  and  Westminster. 

Lydgate,  John.    See  C.  F.  Brown,  Halliwell-Phillipps,  Hammond,  and  MacCracken. 

[Lyons].    Entree  Magnifique  de  Bacchus  avec  Madame  Dimanche  Grasse,  sa  Femme,  faicte  en  la 

ville  de  Lyon,  le  i4feburier  1627.  .  .  .    Lyons,  1838. 
Lysons,  Daniel  and  Samuel.    Magna  Britannia,    [vol.  Cheshire.]    London,  1810. 


324  BIBLIOGRAPHY 

MacCracken,  H.  N.     The  Minor  Poems  of  Lydgate.    [EETS.  ES.  107.]  London,  1911. 

MacCracken,  H.  N.  "  King  Henry's  Triumphal  Entry  into  London.  Lydgate's  Poem  and 
Carpenter's  Letter,"  in  Herrig's  Archiv.  [cxxvi,  pp.  75!.]  Braunschweig,  1911. 

Machyn,  H.  Diary.  Edited  by  J.  G.  Nichols,  for  the  Camden  Society,  [xlii.]  London, 
1848. 

Mackay,  Constance  d'Arcy.  Plays  of  the  Pioneers.  A  book  of  Historical  Pageant-Plays.  New 
York  and  London,  1915. 

MacKaye,  Percy.  The  Civic  Theatre.  New  York  and  London,  1912.  [Especially  ch.  vi, 
pp.  161-177;  app.  iii,  pp.  280!;  app.  iv,  pp.  2881".;  and  app.  v,  pp.  3o6f.] 

MacKaye,  Percy.  Community  Drama;  Its  Motive  and  Method  of  N eighborliness .  Boston  and 
New  York,  1917. 

MacKaye,  Percy.    The  New  Citizenship:  a  Civic  Ritual.    New  York,  1915. 

MacKaye,  Percy.    A  Substitute  for  War.    New  York,  1915. 

MacKaye,  Percy.     "  The  New  Fourth  of  July,"  in  the  Century  Magazine  for  July,  1910. 

McLinn,  C.  B.  "The  March  of  Democracy  —  a  Masque  for  Victory  Day  Celebrations," 
in  The  Historical  Outlook  for  January,  1919.  (The  Rhode  Island  Normal  School  "Vic 
tory  Pageant "  was  based  on  this  masque  and  on  the  "  drama "  listed  under  D. 
Horton's  name.) 

Madden,  Sir  F.,  editor,  see  Paris,  Matthew  of. 

Magnin,  C.     Histoire  des  marionnettes  en  Europe.     (2d  ed.),  Paris,  1862. 

Magnus,  Olaus.  A  Compendious  History  of  the  Goths,  Swedes  &*  Vandals,  and  other  Northern 
Nations.  Written  by  Olaus  Magnus,  Archbishop  of  Upsall  .  .  .  London,  1658. 

Maidment,  J.,  see  Tatham,  Works. 

Maidstone,  Richard  de.  "  De  Concordia  inter  Regem  Ric  II  et  Civitatem  London."  In 
Political  Poems  and  Songs,  edited  by  Thomas  Wright.  (RS  14)  (2  vols.)  London, 
1859-61. 

Maitland,  William.  The  History  of  Edinburgh  from  its  Foundation  to  the  Present  Time.  Edin 
burgh,  1753. 

Maitland,  William.  The  History  and  Survey  of  London  from  its  Foundation  to  the  Present  Time. 
(2  vols.)  ^d  edition].  London,  1760. 

Malcolm,  James  P.    Londinium  Redivivum.    (4  vols.),  London,  1803-07. 

Manning,  Robert,  of  Brunne.  Ye  Story  of  Inglande.  Edited  by  F.  J.  Furnivall.  (2  vols.), 
(RS  87)  London,  1887. 

Manly,  J.  M.    Specimens  of  pre-Shaksperian  Drama.    (2  vols.),  Boston  and  London,  1897. 

[Marblehead  Pageant].  From  Kingdom  to  Colony.  6  and  7  August,  1912.  Produced  by 
G.  L.  Tracy;  book  by  Mary  L.  Devereux;  dramatized  by  Mrs.  M.  J.  Morgan.  [Program 
inHL.) 

[Margaret].    See  C.  F.  Brown,  and  Withington. 

[Marietta,  Ohio,  Pageant].    Report  of  the  Commissioners  of  the  National  Centennial  Celebra 
tion  of  the  Early  Settlement  of  the  territory  Northwest  of  the  River  Ohio.     [The  pageant 
was  held  at  Marietta,  Ohio,  in  July,  1888.]    Columbus,  1888. 
Markoe,  Francis  H.,  see  Yale  Pageant. 

Marriage  between  Wit  and  Wisdom.    Tudor  Facsimile  Texts.    Edited  by  John  S.  Farmer. 
London  and  Edinburgh,  1909.    Cf.  also  vol.  ii  of  J.  O.  Halliwell-Phillipps,  A  Supplement 
to  Dodsley's  Old  Plays.    (4  vols.),  Shaks.  Soc.  Publ.    London,  1853. 
Mars  his  Triumph,  see  Barriffe. 
[Mary].    See  Cocheris. 
[Mary,  Queen  of  Scots].    See  Ellis. 
Masons,  see  Conder. 


BIBLIOGRAPHY  325 

Massachusetts,  Temporary  Acts  and  Laws  of  (1736-62).     Boston,  1755-62. 

Matthew  Paris,  see  Paris,  Matthew  of. 

Matthew  of  Westminster,  see  Westminster,  Matthew  of. 

Matthews,  Albert.    "  The  Term  Pilgrim  Fathers,"  in  Publ.  Colonial  Society  of  Massachusetts, 
for  December,  1914. 

Melsa,  see  Chronica. 

Menestrier,  Claude  Francois.     Traite  des  Tournois,  loustes,  Carrousels,  et  Autres  Spectacles 
Publiques.    Lyons,  1669.     [SA] 

Merchant-Taylors,  see  Clode. 

Middlemore,  S.  G.  C.,  translator.    J.  Burckhardt,  The  Civilisation  of  the  Period  of  the  Renais 
sance  in  Italy.     (2  vols.),  London,  1878. 

Middleton,  Thomas.     Works.    Edited  by  A.  H.  Bullen.     (8  vols.),  London,  1886. 

Middleton,  Thomas.    Works.    Edited  by  the  Rev.  Alexander  Dyce.    (5  vols.),  London,  1840. 

(Middleton) 

(Show  for  1613).  The  Triumphs  of  Truth:  A  Solemnity  vnparaleld  for  Cost,  Art,  and 
Magnificence,  at  the  Confirmation  and  Establishment  of  ...  Sir  Thomas  Middleton, 
Knight;  in  the  Honorable  Office  of  his  Maiesties  Lieuetenant,  the  Lord  Maior  of  ... 
London  .  .  .  October  29.  1613.  All  the  Showes,  Pageants,  Chariots;  Morning,  Noone, 
and  Night-Triumphes.  Directed,  Written,  and  redeem'd  into  Forme,  from  the  Ignor 
ance  of  some  former  times,  and  their  Common  Writer,  By  Thomas  Middleton.  London, 
1613.  [Gh,  BM  (2  copies),  B.  Reprinted  in  Dyce,  v,  pp.  2i3f.;  Bullen,  vii,  pp.  229^; 
Heath  (3d  edition)  appendix,  pp.  443f . ;  Prog.  James,  ii,  pp.  679^  Cf.  Bullen,  i,  p.  xxxviii; 
Greg,  p.  15;  Fairholt,  pt.  i,  p.  32;  J.  G.  Nichols,  p.  101;  Gent.  Mag.,  for  August,  1824, 

P-  H4-] 

Civitatis  Amor.  The  Cities  Loue.  An  entertainement  by  water,  at  Chelsey  and  White 
hall.  At  the  ioyfull  receiuing  of  that  Illustrious  Hope  of  Great  Britaine,  the  High  and 
Mighty  Charles  To  bee  created  Prince  of  Wales,  Duke  of  Cornewall,  Earle  of  Chester,  &c. 
London,  1616.  [Gh,  BM.  Reprinted  in  Bullen,  vii,  p.  269;  Dyce,  v,  p.  249;  Prog.  James, 
iii,  p.  208.  Cf.  Greg,  p.  16.] 

(Show  for  1617).  The  Tryumphs  of  Honor  and  Industry.  A  Solemnity  performed 
throughout  the  City,  at  Confirmation  and  Establishment  ot  .  .  .  George  Bowles,  In  the 
Office  of  his  Maiesties  Lieuetenant,  the  Lord  Mayor  of  the  famous  Citty  of  London. 
Taking  beginning  at  his  Lordships  going,  and  proceeding  after  his  Returne.  .  .  .  October 
29,  1617.  London,  1617.  [Written  for  the  Grocers'  Company.  In  Gh  and  BM  (im 
perfect  copy);  reprinted  in  Bullen,  vii,  p.  293;  Dyce,  v.  p,  607;  Heath  (3d  edition) 
appendix,  p.  459.  Cf.  Fairholt,  pt.  i,  p.  43;  Greg,  p.  16;  J.  G.  Nichols,  p.  103;  Gent. 
Mag.,  for  August,  1824,  p.  116.] 

(Show  for  1619).  The  Triumphs  of  Loue  and  Antiquity.  An  Honourable  Solemnitie 
performed  ...  at  the  confirmation  of  ...  Sir  William  Cockayn,  Knight,  in  the  office 
of  ...  Lord  Maior  of  the  Famous  Citie  of  London  ...  By  Tho.  Middleton,  Gent. 
London,  1619.  [BM,  B.  Reprinted  in  Bullen,  vii,  p.  311;  Dyce,  v,  p.  271;  Prog.  James, 
iii,  p.  570.  Cf.  Greg,  p.  17;  Fairholt,  pt.  i,  p.  45;  J.  G.  Nichols,  p.  103;  Gent.  Mag.,  for 
August,  1824,  p.  1 1 6.] 

(Show  for  1621).  The  Svnne  in  Aries.  A  Noble  Solemnity  performed  through  the  Citie 
at  the  sole  cost  and  charges  of  the  .  .  .  Drapers,  at  the  confirmation  and  establishment  of 
their  most  Worthy  Brother  .  .  .  Edward  Barkham  in  the  high  office  of  ...  Lord 
Maior  .  .  .  the  29.  of  October.  1621.  By  Tho.  Middleton,  Gent.  London,  1621.  [BM. 
Reprinted  in  Bullen,  vii,  p.  335;  Dyce,  v,  p.  291 ;  Prog.  James,  iv,  p.  724.  Cf.  Greg,  p.  17; 
Fairholt,  pt.  i,  p.  48;  J.  G.  Nichols,  p.  103;  Gent.  Mag.  for  August,  1824,  p.  116.] 


326  BIBLIOGRAPHY 

[Cf.  Bullen,  i,  p.  Iviii:  "Among  the  Conway  papers  in  the  Record  Office  is  a  MS: 
'  Inventions  by  Thomas  Middleton  being  a  musical  allegory,  performed  for  the  service  of 
Edward  Barkham,  Lord  Mayor  of  London,  when  he  entertained  his  brother  aldermen  at 
a  feast  in  the  Easter  holidays,  Apr.  22,  1622.'  I  have  reprinted  it  for  the  first  time;  it  has 
little  merit."  This  is,  of  course,  not  the  Lord  Mayor's  Show  for  this  year;  and  is  a 
masque  rather  than  a  pageant.  It  may  be  found  in  Bullen,  vii,  pp.  369  f.] 

(Show  for  1622).  The  Triumphs  of  Honor  and  Verlue.  [BM  (lacking  title-page). 
Reprinted  by  Bullen,  vii,  p.  353,  and  by  James  L.  Pearson  in  Shaks.  Soc.  Papers,  ii  (1845), 
p.  93.  Cf.  Greg,  p.  1 8.  It  is  not  mentioned  by  Dyce,  Fairholt  or  J.  G.  Nichols.  The 
show  was  written  for  the  inauguration  of  Peter  Proby  of  the  Grocers'  Company.] 

(Show  for  1623).  The  Triumphs  of  Integrity.  [Reprinted  from  Dyce,  v.  p.  303,  by  Bul 
len,  vii,  p.  381.  This  show  was  written  for  the  inauguration  of  Sir  Martin  Lumley,  of  the 
Drapers'  Company.  I  have  not  seen  a  copy  of  the  original  pamphlet.  Cf.  Greg,  p.  18; 
Fairholt,  pt.  i,  p.  49,  and  below,  Munday  (sub  anno  1623.)  On  the  relationship  between 
Munday  and  Middleton  in  this  show,  see  Withington,  "  The  Lord  Mayor's  Show  for 
1623,"  in  Publ.  Mod.  Lang.  Assoc.,  for  March,  1915.] 

(Show  for  1626).  The  Triumphs  of  Health  and  Prosperity.  A  Noble  Solemnity  per 
formed  through  the  City  at  the  sole  Cost  and  Charges  of  the  Honourable  Fraternity  of 
Drapery,  at  the  Inauguration  of  ...  Cuthbert  Hacket,  Lord  Major  ...  By  Tho. 
Middleton,  Gent.  London,  1626.  [Gh.  Reprinted  in  Dyce,  v,  p.  319;  Bullen,  vii,  p.  399. 
In  the  Gh  copy  is  noted:  "  Perhaps  the  rarest  of  ah1  the  City  Pageants;  no  copy  but 
Garrick's  was  known  to  Loundes."  Cf.  Greg,  p.  18;  Fairholt,  pt.  i,  p.  52;  J.  G.  Nichols, 
p.  104;  Gent.  Mag.,  for  November,  1824,  p.  412.] 

Mfillington],  T[homas].  The  True  Narration  of  the  Entertainment  of  his  Royall  Maiestie, 
from  the  time  of  his  departure  from  Edenbrough;  till  his  receiuing  at  London:  with  all 
or  the  most  speciall  Occurrences.  Together  with  the  names  of  those  Gentlemen  whom  his 
Maiestie  honoured  with  Knighthood.  At  London,  printed  by  Thomas  Creede  for  Thomas 
Millington,  1603.  [The  preface  "  to  the  Reader  "  is  signed  T.  M.  The  pamphlet,  which 
is  preserved  in  B.,  is  reprinted  in  Arber,  viii,  p.  485,  and  in  Prog.  James,  i,  p.  53.  Nichols 
seems  to  have  used  another  edition,  for  there  are  slight  textual  differences  between  his 
version  and  the  pamphlet  in  the  Bodleian.] 

Minute  Book,  see  Lord  Mayor. 

Minutes  of  Committees  for  conducting  the  Entertainment  at  Guildhall  on  Lord  Mayor's  Days, 
see  Proceedings. 

Molloy,  J.  F.    Romance  of  the  Irish  Stage.     (2  vols.),  London,  1897. 

Monck,  Nugent.  The  Pageant-Play  of  King  Arthur.    [London,  1914.] 

[Monk,  General].  For  broadsides  containing  speeches  addressed  to  General  Monk  at  various 
dinners  given  him  by  the  London  Companies  in  March  and  April,  1660,  see  the  collection 
in  the  Bodleian.  [Wood,  398  (4-9).] 

Monmouth,  Geoffrey  of.  Histories  Regum  Britannia  in  Rerum  Britannicarum.  Edited  by 
Hieronymus  Commelinus.  Heidelberg,  1637. 

Monmouth,  Geoffrey  of.  Hist.  Reg.  Brit.  Edited  by  J.  A.  Giles  for  the  Caxton  Society. 
London,  1844. 

Monstrelet,  Euguerrand  de.  Chronique.  Edited  for  the  Societe  de  1'Histoire  de  France  by  L. 
Douet-d'Arcq.  (6  vols.),  Paris,  1857-62.  Ibid.,  "  continued  by  others  ...  to  the  year 
MDXVI,"  translated  by  T.  Johnes,  and  printed  "  At  the  hafod  press." 

Morris,  Rupert  H.    Chester  in  the  Plantagenet  and  Tudor  Reigns.    Chester,  [?i894.] 

Moss,  Hugh,  see  English  Church. 

Mount  Holyoke,  see  Porter. 


BIBLIOGRAPHY  327 

Munday,  Anthony. 

(Show  for  1605) .  The  Trivmphes  of  re-united  Britania.  Performed  at  the  cost  and 
charges  of  the  ...  Merchants-Taylors,  in  honor  of  Sir  Leonard  Holliday,  Kni.  to  solem 
nize  his  entrance  as  Lorde  Mayor  of  the  Citty  of  London,  on  Tuesday  the  29.  of  October. 
1605.  Deuised  and  written  by  A.  Mundy,  Cittizen  and  Draper  of  London.  London, 
[1605],  [BM,  B.  Reprinted  in  Prog.  James,  i,  p.  564.  Cf.  Greg,  p.  21;  Fairholt,  pt.  i, 
p.  29;  J.  G.  Nichols,  p.  100;  Gent.  Mag.,  for  August,  1824,  p.  114.] 

(Show  for  1609).  In  BM  [C.  33.  e.  7  (23)}  are  to  be  found  the  last  four  leaves  of  the 
description  of  the  1609  Show,  to  which  is  prefixed  the  following  pencilled  title-page: 
"  Camp-bell;  or  the  Ironmongers  Faire  Field  (a  Pageant  at  the  installation  of  Sir  Thomas 
Campbell  in  the  office  of  Lord  Mayor  of  London,  29  October  1609)."  In  pencil,  on  the 
margin  of  the  first  sheet,  this  is  attributed  to  Munday. 

London's  Love,  to  the  Royal  Prince  Henrie,  meeting  him  on  the  River  of  Thames,  at  his 
returne  from  Richmonde,  with  a  Worthie  Fleete  of  her  Cittizens,  on  Thursday  the  last 
of  May,  1610.  With  a  breife  [sic]  reporte  of  the  Water  Fight,  and  Fireworkes.  London, 
Printed  by  Edw.  Allde  for  Nathaniel!  Fosbrooke,  and  are  to  be  solde  at  the  West-end  of 
Paules,  neere  to  the  Bishop  of  Londons  gate,  1610.  [Gh,  BM.  This  is  by  Munday;  see 
Dr.  C.  W.  Wallace,  in  the  London  Times,  28  March,  1913,  p.  6  col.  i.] 

(Show  for  1611).  Chryso-thriambos,  the  triumphes  of  Golde.  [Cf.  Greg,  p.  20;  Fair- 
holt,  pt.  i,  p.  32;  J.  G.  Nichols,  p.  100;  Gent.  Mag.,  for  August,  1824,  p.  114.  I  have  not 
seen  a  copy  of  this  pamphlet.] 

(Show  for  1614).  Himatia-Poleos.  The  Trivmphs  of  olde  Draperie,  or  the  rich  Cloath- 
ing  of  England.  Performed  ...  at  the  charges  of  the  .  .  .  Drapers  at  the  enstalment 
of  Sir  Thomas  Hayes  ...  in  the  high  office  of  Lord  Maior  of  London  .  .  .  the  29.  day  of 
October.  1614.  Deuised  and  written  by  A.  M.  Citizen  and  Draper  of  London.  London, 
1614.  [BM.  Cf.  Greg,  p.  20;  Fairholt,  pt.  i,  pp.  37 f.;  J.  G.  Nichols,  p.  102;  Gent.  Mag., 
for  August,  1824,  p.  115.] 

(Show  for  1615).  Metropolis  Coronata,  the  Trivmphes  of  Ancient  Drapery:  or,  Rich 
Cloathing  of  England,  in  a  second  Yeeres  performance.  In  Honour  of  the  aduancement 
of  Sir  lohn  lolles,  Knight,  to  the  high  office  of  Lord  Maior  ...  on  Monday,  being  the 
30.  day  of  October,  1615  .  .  .  Deuised  and  written  by  A.  M.  Citizen  and  Draper  of 
London.  London,  1615.  [Gh,  B,  BM.  Reprinted  in  Prog.  James,  iii,  p.  107;  cf.  Greg, 
p.  20;  Fairholt,  pt.  i,  pp.  38f.;  J.  G.  Nichols,  p.  102;  Gent.  Mag.,  for  August,  1824,  p.  115.] 

(Show  for  1616).  Chrysanaleia:  The  Golden  Fishing:  Or,  Honour  of  Fishmongers. 
Applauding  the  aduancement  of  Mr.  lohn  Leman,  Alderman,  to  the  dignitie  of  Lord 
Maior  of  London  ...  on  Tuesday,  being  the  29.  day  of  October,  1616  .  .  .  Deuised 
and  written  by  A.  M.  Citizen  and  Draper  of  London.  London,  1616.  [Gh,  B,  BM. 
Reprinted,  Prog.  James,  iii,  p.  195;  cf.  Greg,  p.  20;  Fairholt,  pt.  i,  p.  40;  J.  G.  Nichols, 
and  Gent.  Mag.,  he  cit.} 

The  Fishmongers'  Pageant,  on  Lord  Mayor's  Day,  1616.  Chrysanaleia,  the  Golden 
Fishing,  devised  by  Anthony  Munday,  Citizen  and  Draper.  Represented  in  twelve  plates 
by  Henry  Shaw,  F.  S.  A.,  from  Contemporary  Drawings  in  the  possession  of  the  .  .  . 
Fishmongers.  Accompanied  with  various  illustrative  documents,  and  an  historical  intro 
duction  by  John  Gough  Nichols,  F.  S.  A.,  Citizen  and  Stationer.  Printed  for  the  Wor 
shipful  Company  of  Fishmongers.  [London],  1844.  [Gh,  BM,  HL.] 

(Show  for  1618} .  Sidero-Thriambos.  Or  Steele  and  Iron  Triumphing.  Applauding 
the  aduancement  of  Sir  Sebastian  Haruey  ...  to  the  dignitie  of  Lord  Maior  ...  on 
Thursday  .  .  .  the  29.  day  of  October,  1618.  Performed  ...  at  the  charges  of  his 
kinde  Brethren,  the  ...  Ironmongers.  Deuised  and  written  by  A.  M.  Citizen  and 


328  BIBLIOGRAPHY 

Draper  of  London.    London,  1618.    [BM.    Cf.  Greg,  p.  20;  not  mentioned  by  Fairholt  or 

J.  G.  Nichols.] 

(Show  for  1623).    See  Middleton  (sub  anno  1623).    The  Triumphs  of  the  Golden  Fleece. 

Performed  at  the  cost  and  charges  of  the  Auncient  and  Honourable  Societie  of  the  Drapers. 

For  the  enstaulment  of  their  Worthy  Brother,  Mr.  Martin  Lvmley  in  the  Maioralty  of 

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Pepys,  Samuel.  Diary.  Edited  by  H.  B.  Wheatley,  with  Lord  Braybrooke's  notes.  (iovols.), 
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Perkins,  Rev.  F.  L.    Up  the  Heights.    A  Play  with  a  Purpose.    York,  n.  d. 

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Another  copy  of  the  same  MS.  made  "  from  one  on  vellum  formerly  in  the  possession 
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Pewterers.    See  Welch. 

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Pollard,  A.  F.,  see  Tudor  Tracts. 

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Poole,  Benjamin.  The  History  of  Coventry.  .  .  .  ("  Embellished  with  numerous  engravings.") 
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[POPE-BURNING.] 

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The  Scots  Demonstration  of  their  Abhorrence  of  Popery,  -with  all  its  Adherents.  In  a 
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Pope  there  in  Effigie  on  Christ-Mass  Day,  &c.  [  ?  1680].) 

The  Solemn  Mock  Procession:  or  the  Tryal  and  Execution  of  the  Pope  and  his  Min 
isters,  on  the  17.  of  Nov.  at  Temple-Bar;  where,  being  brought  before  the  Figure  of  Q. 
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bunal  of  K.  Charles  the  Second:  on  the  other  side  he  receives  his  Final  Doom  and  Down- 
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[This  pamphlet  is  numbered  8  in  the  BM  collection  of  Tracts  Relating  to  the  Popish 
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seventy-fifth  anniversary  of  the  founding  of  the  College.] 

Potter  Heigham,  see  Parker. 

Pouncy,  H.,  see  West  Dorset. 

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[Scotland].  The  Scottish  National  Pageant  of  Allegory,  Myth  and  History.  To  be  held  in  the 
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(Show  for  1691}.  The  Triumphs  of  London,  Performed  on  Thursday,  Octob.  29.  1691 
for  the  Entertainment  of  ...  Sir  Thomas  Stamp,  Kt.  .  .  .  Containing  a  true  descrip 
tion  of  the  several  Pageants,  with  the  Speeches  spoken  on  each  Pageant.  All  set  forth  at 
the  proper  Costs  and  Charges  of  the  .  .  .  Drapers.  By  E.  S.  (Epistle  dedicatory  signed 
"  E.  Settle.")  London,  1691.  [Gh,  B  (2  copies),  HL,  BM.  Cf.  Fairholt,  pt.  i,  p.  109; 
J.  G.  Nichols,  p.  117.] 

(Show  for  1692).  The  Triumphs  of  London.  Performed  on  Saturday,  Octob.  29,  1692 
for  the  Entertainment  of  ...  Sir  John  Fleet,  Kt.  .  .  .  Containing  a  True  Description 
of  the  Several  Pageants;  with  the  Speeches  spoken  on  each  Pageant.  All  set  forth  at  the 
proper  Costs  and  Charges  of  the  .  .  .  Grocers.  Together  with  an  exact  Relation  of  the 
Most  Splendid  Entertainments,  prepared  for  the  Reception  of  Their  Sacred  Majesties. 
By  E.  S.  London,  1692.  [Gh,  B,  BM.  Reprinted  in  Health  (3d  ed.)  appendix,  p.  551. 
Cf.  Fairholt,  pt.  i,  p.  in;  J.  G.  Nichols,  p.  117;  Gough,  Brit.  Top.,  p.  342.] 

(Show  for  1693).  The  Triumphs  of  London.  Performed  on  Monday,  Octob.  3oth, 
1693,  for  the  Entertainment  of  ...  Sir  William  Ashurst,  Knight  .  .  .  Containing  a 
True  Description  of  the  several  Pageants;  with  the  Speeches  spoken  on  each  Pageant. 
All  set  forth  at  the  proper  Costs  and  Charges  of  the  .  .  .  Merchant-Taylors.  Together 
with  the  Festival  Songs  for  his  Lordship  and  the  Companies  Diversion.  By  E.  S.  Lon 
don,  1693.  [BM.  Cf.  Fairholt,  pt.  i,  p.  112;  J.  G.  Nichols,  p.  117.] l 

(Show  for  1694).  The  Triumphs  of  London,  Prepared  for  the  Entertainment  of  ... 
Sir  Thomas  Lane,  Knight  .  .  .  Containing  a  full  Description  of  the  Pageants,  Speeches, 
Songs,  and  the  whole  Solemnity  of  the  Day.  Performed  one  [sic]  Monday  the  29  of 
October,  1694.  Set  forth  at  the  Proper  Cost  and  Charges  of  the  .  .  .  Clothworkers. 
London,  1694.  [Gh,  BM.  Cf.  Fairholt,  pt.  i,  p.  113;  J.  G.  Nichols,  p.  118.] 

(Show  for  1695}.  The  Triumphs  of  London.  Performed  on  Tuesday,  Octob.  29.  1695 
for  the  Entertainment  of  ...  Sir  John  Houblon,  Kt.  .  .  .  Containing  a  True  Descrip 
tion  of  the  Several  Pageants;  with  the  Speeches  spoken  on  each  Pageant.  All  prepared, 
at  the  proper  Costs  and  Charges  of  the  .  .  .  Grocers.  To  which  is  added  a  New  Song 


1  In  a  letter  of  13  July,  1918,  Mr.  Bernard  Kettle,  Librarian  of  Guildhall,  London,  writes: 
"...  In  the  recent  Huth  sale  were  three  of  Settle's  pageants.  Two  we  already  had,  but  the  third, 
Ashurst's  pageant  of  1693,  we  were  anxious  to  secure.  The  Committee's  limit  of  twenty-five  guineas 
was,  however,  outbid  by  one  of  £28,  IDS.  —  a  good  price  for  poor  Settle's  tosh!  How  he  would  have 
jumped  at  such  a  price  for  the  original  MS.,  when  it  is  remembered  he  only  received  £6  for  one  of  his 
efforts." 


BIBLIOGRAPHY  335 


upon  His  Majesty's  Return.    By  E.  S.    Published  by  Authority.    London,  1695. 
B,  BM.    Cf.  Fairholt,  pt.  i,  p.  113;  J.  G.  Nichols,  p.  118.] 

(Show  for  1698).  Glory's  Resurrection;  being  the  Triumphs  of  London  Revived,  for  the 
Inauguration  of  ...  Sir  Francis  Child,  Kt.  .  .  .  Containing  the  Description  (and  also 
the  Sculptures)  of  the  Pageants,  and  the  whole  Solemnity  of  the  Day.  All  set  forth  at  the 
proper  Cost  and  Charges  of  the  .  .  .  Goldsmiths.  Publish'd  by  Authority.  London, 
1698.  (Illustrated.)  [Gh,  BM.  Cf.  Fairholt,  pt.  i,  p.  114;  J.  G.  Nichols,  p.  118.  The 
illustrations  are:  The  Amphitheatre  of  Union;  the  Goldsmiths'  Laboratory;  a  Trium 
phant  Chariot  of  Gold,  and  the  Temple  of  Honour;  they  are  reproduced  in  Brown,  opp. 
pp.  122,  124,  and  126.] 

(Show  for  1699).  The  Triumphs  of  London,  For  the  Inauguration  of  ...  Sir  Richard 
Levett,  Kt.  .  .  .  Containing  a  Description  of  the  Pageants,  together  with  the  Publick 
Speeches,  and  the  whole  Solemnity  of  the  Day.  Performed  on  Monday,  the  3oth  Day  of 
October,  Anno  1699.  All  set  forth  at  the  proper  Cost  and  Charges  of  the  .  .  .  Haber 
dashers.  London,  MDCXCIX.  [Gh,  BM.  (The  prefaces  are  signed  "E.  Settle.")  Cf. 
Fairholt,  pt.  i,  p.  115;  J.  G.  Nichols,  p.  119.] 

(Show  for  1700).  The  Triumphs  of  London,  for  the  Inauguration  of  ...  Sir  Thomas 
Abney,  Kt.  .  .  .  Containing  a  Description  of  the  Pageants  together  with  the  Publicke 
Speeche[s]  and  the  whole  Solemnity  of  the  Day.  Performed  on  Tuesday  the  29th  of 
October,  1700.  All  set  forth  at  the  proper  Cost  and  Charges  of  the  .  .  .  Fishmongers. 
Published  by  Authority.  London,  1700.  [Gh.  Cf.  Fairholt,  pt.  i,  p.  116;  J.  G.  Nichols, 
p.  119.] 

(Show  for  1701}.  The  Triumphs  of  London,  For  the  Inauguration  of  ...  Sir  William 
Gore,  Kt.  .  .  .  Containing  a  Description  of  the  Pageants,  together  with  the  Publick 
Speeches,  and  the  whole  Solemnity  of  the  Day.  Performed  on  Wednesday  the  2gth  of 
October,  1701.  All  set  forth  at  the  proper  Cost  and  Charge  of  the  .  .  .  Mercers.  Pub 
lished  by  Authority.  London,  1701.  [Gh,  B.  Cf.  Fairholt,  pt.  i,  p.  117;  J.G.Nichols, 
p.  119.] 

(Show  for  1702).  The  Triumphs  of  London,  At  the  Inauguration  of  ...  Sir  Samuel 
Dashwood,  Kt.  .  .  .  Containing  a  Description  of  the  Pageants,  the  Speeches,  and  the 
whole  Solemnity  of  the  Day.  Perform'd  on  Thursday  the  2gth  of  October.  All  set 
forth  at  the  Cost  and  Charges  of  the  .  .  .  Vintners.  Together  with  the  Relation 
of  Her  Majesty's  Reception  and  Entertainment  at  Dinner  in  Guild-hall.  Publish'd  by 
Authority.  London,  1702.  [Gh.  Cf.  Fairholt,  pt.  i,  p.  118;  J.  G.  Nichols,  pp.  84  and 
119.] 

(Show  for  1708).  The  Triumphs  of  London  for  the  Inauguration  of  ...  Sir  Charles 
Duncombe,  Knight.  Containing  the  Description  (and  also  the  Sculptures)  of  the  Pag 
eants,  and  the  whole  Solemnity  of  the  Day.  Performed  on  Friday  the  29th  of  October, 
Anno  1708.  All  set  forth  at  the  proper  Cost  and  Charge  of  the  .  .  .  Goldsmiths.  Pub 
lished  by  Authority.  London,  1708.  [Gh,  B,  BM.  The  Chariot  of  Justice  —  which  is 
the  same  as  the  1698  Chariot  of  Gold  —  forms  the  frontispiece  of  Fairholt's  Civic  Gar 
land.  The  illustrations  are:  the  Temple  of  Apollo;  St.  Dunstan;  The  Chariot  of  Justice. 
Cf.  on  this  show,  Fairholt,  pt.  i,  p.  122;  J.  G.  Nichols,  pp.  119  f.  F.  C.  Brown,  p.  126,  n.  5, 
points  out  that  "  the  Guildhall  copy  has  lost  the  '  sculptures,'  "  but  that  the  BM  and  B 
copies  have  the  cuts.] 
Sharp,  Thomas.  Dissertation  on  Pageants  or  Mysteries  at  Coventry.  (Illustrated.)  Coventry, 

1825. 

Sharpe,  Reginald  R.,  editor.    Calendar  of  Letter-Books,  preserved  among  the  archives  of  the 
Corporation  of  the  City  of  London,    (n  vols.),  London,  1899  et  seq. 


336  BIBLIOGRAPHY 

Sharpe,  Reginald  R.    London  and  the  Kingdom.    (3  vols.),  London,  1894-95. 

Shaw,  Henry,  see  Munday  (sub  anno  1616). 

Sherborne,  Dorsetshire,  Pageant.  Louis  N.  Parker,  Master.  In  celebration  of  the  twelve 
hundredth  Anniversary  of  the  Founding  of  the  Town  of  Sherborne,  &c.  By  Louis  N.  Parker. 
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Sherwell,  John  W.  A  Descriptive  and  Historical  Account  of  the  Guild  of  Saddlers.  [London,] 
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Shirley,  John.  The  Triumph  of  Peace.  A  Masque  presented  by  the  Foure  Honourable  Houses, 
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Smith,  J.  L.,  see  Lancaster. 

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Somers,  Lord.  A  Collection  of  Scarce  and  Valuable  Tracts,  &c.  Second  edition,  revised,  aug 
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Songs,  Duets,  &c.t  in  the  New  Pantomine  called  Lord  Mayor's  Day,  or  a  Flight  from  Lapland. 
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Sprott,  Thomas.    Chronica.    Edited  by  Thomas  Hearne.    Oxford,  1719. 

Squire,  John.  (Show  for  1620.)  Tes  Irenes  Trophaa,  or  the  Tryumphs  of  Peace.  That  Cele 
brated  the  Solemnity  of  ...  Sir  Francis  lones,  Knight,  at  his  Inauguration  into  the 
Maioraltie  of  London,  on  Monday  being  the  30.  of  October  1620.  At  the  particular  cost 
and  charge  of  the  .  .  .  Haberdashers.  With  explication  of  the  seuerall  shewes  and 
deuices  by  I.  S.  London,  1620.  [Gh.  Reprinted  in  Prog.  James,  iii,  p.  619.  (The 
"  Epistle  Dedicatory  "  to  the  Mayor  is  signed  lo.  Squire.)  Cf.  Greg,  p.  24;  Fairholt, 
pt.  i,  p.  46;  J.  G.  Nichols,  p.  103;  Gent.  Mag.,  for  August,  1824,  p.  116.] 

Stevens,  Frank.  "  The  Giant  and  Hob  Nob  and  their  Story,"  in  the  Salisbury  Festival  Book. 
Salisbury,  1914. 

Stevens,  T.  W.,  see  St.  Louis. 

Stewart,  Horace.  History  of  the  Worshipful  Company  of  Gold  and  Silver  Wyre-Drawers.  (Illus 
trated.)  London,  1891. 

Stewart,  Lila  A.,  see  Cincinnati. 

Stone,  Sir  Benjamin.  Festivals,  Ceremonies  and  Customs.  Records  of  National  Life  and 
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Stow,  John.    Annales,  or  a  Gener all  Chronicle  of  England.     (Black-letter.)    London,  1600. 
Ibid.,  continued  and  augmented  by  Edmund  Howes.    London,  1615. 
Ibid.,    London,  1631. 


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Stow,  John.    Survey  of  London.    Corrected  and  enlarged  by  A[nthony]  M[unday].     (Black- 
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Ibid.,  corrected  and  enlarged  by  John  Strype.    (2  vols.),  London,  1720. 
Stow's  Survey  (from  the  text  of  1603)  with  introduction  and  notes  by  C.  L.  Kingsford. 
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[Stow,  John].    Three  Fifteenth-Century  Chronicles,  with  historical  memoranda  by  John  Stow. 
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Stmtt,  Joseph.    Horda  Angel-cynnan,  or,  a  compleat  view  of  the  Manners,  Customs  &c.,  of  the 
English  people.    (3  vols.)    Illustrated  by  158  plates.    London,  1774-76. 

Strutt,  Joseph.    Sports  amd  Pastimes  of  the  People  of  England,  &c.    London,  1801. 
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Strype,  John,  see  Stow,  Survey. 

Stubbs,  Rt.  Rev.  William,  editor.   Chronicles  of  Edward  I  and  II.   [Vol.  i,  includes  the  Annales 
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Sullivan,  see  O'Curry. 

Symonds,  John  A.    Shakespeare's  Predecessors.    London,  1884. 

Tatham,  John.    Dramatic  Works.    Edited  by  J.  Maidment  and  W.  H.  Logan.    Edinburgh, 
1879. 

(Show  for  1657).  London's  Triumphs,  Celebrated  the  Nine  and  twentieth  day  of  this 
present  Month  of  October,  1657:  in  Honour  to  ...  Richard  Chiverton,  Lord  Major  .  . . 
At  the  Costs  and  Charges  of  the  .  .  .  Skinners.  By  John  Tatham,  Gent.  .  .  .  London 
[1657,  obliterated  in  the  BM  copy.]  [BM.  Cf.  Fairholt,  pt.  i,  p.  65;  J.  G.  Nichols,  p.  107; 
Gent.  Mag.,  for  December,  1824,  p.  514.] 

(Show  for  1658.}  Londons  Tryumph,  Presented  by  Industry  and  Honour:  with  Other 
Delightfull  Scaenes,  appertaining  to  them:  Celebrated  in  Honour  of  .  .  .  Sir  John  Ireton, 
Knight,  ...  on  the  2gth  day  of  October,  1658,  and  done  at  the  Cost  and  Charges  of  the 
.  .  .  Clothworkers.  J.  Tatham.  London,  1658.  [Gh,  B  (2  copies),  BM.  Cf.  Fairholt, 
pt.  i,  p.  66;  J.  G.  Nichols,  p.  107;  Gent.  Mag.,  for  December,  1824,  p.  514.] 

(Show  for  1659).  London's  Tryumph,  celebrated  the  Nine  and  Twentieth  day  of 
October,  in  the  year  1659.  In  Honour  of  the  much  Honoured  Thomas  Allen,  Lord  Mayor. 
.  .  .  Presented  and  personated  by  an  Europian,  an  Egyptian  ,  and  a  Persian.  And  done 
at  the  Costs  and  Charges  of  the  ...  Grocers.  By  J.  Tatham.  London,  1659.  [B.  Re 
printed  in  Heath  (3rd  edition)  appendix,  p.  466.  Cf.  Fairholt,  pt.  i,  p.  67;  J.  G.  Nichols, 
p.  107;  Gent.  Mag.,  for  December,  1824,  p.  515.] 

(Show  for  1660).  The  Royal  Oake,  with  Other  various  and  delightfull  Scenes  presented 
on  the  Water  and  the  Land,  Celebrated  in  Honour  of  ...  Sir  Richard  Brown  .  .  .  The 
29th  day  of  October  in  the  12  Year  of  his  Majesties  most  happy,  happy,  Reign,  An.  Dom. 
1660.  And  performed  at  the  Costs  and  Charges  of  the  ...  Merchant-Taylors,  Being 
twice  as  many  Pageants  and  Speeches  as  have  been  formerly  showen,  by  John  Tatham. 
London,  1660.  [BM,  B.  Reprinted,  Fairholt,  pt.  ii,  p.  87;  cf.  ibid.,  pt.  i,  p.  68;  Gent. 
Mag.,  for  December,  1824,  p.  515,  and  J.  G.  Nichols,  p.  108.] 

The  Several  Speeches  made  to  the  Honorable  Sir  Richard  Brown,  Lord  Mayor  .  .  . 
on  Monday  the  Twenty  Ninth  Day  of  October,  in  the  Twelfth  Year  of  His  Majesties  most 
happy  Reign,  Anno  Dom.  1660.  With  the  manner  of  the  Celebration  of  this  Triumphant 
Day;  and  the  various  Scenes,  Figures  and  Pageants;  Representing  the  Royal  Oak  and  its 
Pendant  Leaves,  that  preserv'd  and  enshadow'd  our  Gracious  Lord  and  Sovereign  King 
Charles,  from  the  hands  of  his  Blood-thirsty  Enemies.  London,  1660.  [Gh,  C.] 

Londons  Glory,  Represented  by  Time,  Truth,  and  Fame:  at  the  Magnificent  Triumphs 
and  Entertainment  of  His  most  Sacred  Majesty  Charles  the  II  ...  at  Guildhall  on 


338  BIBLIOGRAPHY 

Thursday  being  the  5th  day  of  July  1660  and  in  the  i2th  Year  of  His  Majestie[s]  most 
happy  Reign.  Together  with  the  Order  and  Management  of  the  Whole  Day's  Business. 
London,  1660.  [Gh,  B,  BM  (3  copies),  SA,  C.  Reprinted  in  his  Works,  p.  293.] 

(Show  for  1661).  London's  Tryumphs,  Presented  in  several  delightfull  Scoenes,  both 
on  the  Water  and  Land,  and  Celebrated  in  Honour  to  ...  Sir  John  Frederick,  Knight 
and  Baronet,  Lord  Mayor  ...  At  the  Costs  and  Charges  of  the  .  .  .  Grocers.  John 
Tatham.  London,  1661.  [BM,  Gh.  Reprinted  in  Heath  (3d  edition)  appendix,  p.  475; 
cf.  Fairholt,  pt.  i,  p.  68;  J.  G.  Nichols,  p.  108;  Gent.  Mag.,  for  December,  1824,  p.  516.] 

Aqua  Triumphalis;  being  a  True  Relation  of  the  Honourable  the  City  of  London's 
Entertaining  Their  Sacred  Majesties  upon  the  River  of  Thames,  and  Wellcoming  them 
from  Hampton  Court  to  White-hall.  Expressed  and  set  forth  in  several  Shewes  and 
Pageants  the  23.  day  of  August  1662.  Written  by  John  Tatham,  Gent.  London,  1662. 
[Gh,  BM,  B  (3  copies).] 

(Show  for  1662).  London's  Triumph:  Presented  In  severall  Delightfull  Scaenes,  both 
upon  the  Water  and  Land:  and  celebrated  in  Honour  of  ...  Sir  John  Robinson  .  .  . 
Lord  Mayor  ...  at  the  Costs  and  Charges  of  the  .  .  .  Cloth  workers.  London,  1662. 
[BM,  B.  Cf.  Fairholt,  pt.  i,  p.  71;  J.  G.  Nichols,  p.  109;  Gent.  Mag.,  for  December,  1824, 

P-  5I7-] 

(Show  for  1663).  Londinum  Triumphans.  London's  Triumphs,  Celebrated  in  Honour 
of  the  truly  Deserving  Sir  Anthony  Bateman,  Knight,  Lord  Maior  .  .  .  and  done  at  the 
Costs  and  Charges  of  the  .  .  .  Skinners,  the  zgth  of  October,  1663.  By  John  Tatham. 
London,  1663.  [Gh.  Cf.  Fairholt,  pt.  i,  p.  71;  Gent.  Mag.,  for  December,  1824,  p.  517; 
J.  G.  Nichols,  p.  109;  Wadmore,  p.  145.] 

(Show  for  1664).  London's  Triumphs,  Celebrated  the  2gth  of  October,  1664.  In  Honour 
to  the  truely  Deserver  of  Honour  Sir  lohn  Lawrence,  Knight,  Lord  Maior  .  .  .  and 
Performed  at  the  Costs  and  Charges  of  the  .  .  .  Haberdashers.  .  .  .  Written  by  John 
Tatham,  Gent.  London,  1664.  [BM,  B,  Gh.  Cf.  Fairholt,  pt.  i,  p.  71;  J.  G.  Nichols, 
p.  109;  Gent.  Mag.,  for  December,  1824,  p.  517.] 
Taubman,  Matthew. 

(Show  for  1685).  London's  Annual  Triumph:  Performed  on  Thursday  Octob.  29. 1685. 
For  the  Entertainment  of  ...  Sir  Robert  Jeffreys,  Kt.  Lord  Mayor  .  .  .  With  a  de 
scription  of  the  several  Pageants,  Speeches  and  Songs,  made  proper  for  the  occasion.  All 
set  forth  at  the  proper  Costs  of  the  .  .  .  Ironmongers.  Composed  by  Matt.  Taubman. 
London,  1685.  [BM,  B.  Cf.  Malcolm,  ii,  p.  45;  Fairholt,  pt.  i,  pp.  100  f.,  and  p.  174; 
J.  G.  Nichols,  p.  115.  The  pamphlet  is  reprinted  from  the  Bodleian  copy  by  Nicholl, 
pp.  306  f.] 

(Show  for  1686).  London's  Yearly  Jubilee:  Perform'd  on  Friday,  October  xxix.  1686. 
For  the  Entertainment  of  ...  Sir  John  Peake,  Knight,  Lord  Mayor  .  .  .  With  a 
Description  of  the  several  Pageants,  Speeches  and  Songs,  made  proper  for  the  Occasion. 
All  set  forth  at  the  proper  Costs  and  Charges  of  the  ...  Mercers.  Composed  by  M. 
Taubman.  London,  1686.  [Gh,  B  (2  copies),  BM.  Cf.  Fairholt,  pt.  i,  p.  102;  J.  G. 
Nichols,  p.  ii5f.] 

(Show  for  1687}.  London's  Triumph,  or  the  Goldsmiths  Jubilee:  Performed  on  Saturday, 
October  xxix,  1687,  For  the  Confirmation  and  Entertainment  of  ...  Sir  John  Shorter, 
Kt.,  Lord  Mayor  .  .  .  Containing  a  Description  of  the  several  Pageants  and  Speeches 
made,  proper  for  the  occasion.  Together  with  a  Song,  for  the  Entertainment  of  His 
Majesty,  who,  with  His  Royal  Consort  .  .  .  honour  his  Lordship,  this  year,  with  their 
Presence.  All  set  forth  at  the  proper  Costs  and  Charges  of  the  ...  Goldsmiths.  By  M. 
Taubman.  London,  1687.  [Gh  (2  copies),  B  (2  copies),  BM.  On  the  title-page  of  the 


BIBLIOGRAPHY  339 

BM  copy  is  a  pencilled  "  excessively  rare  " ;  also  the  following  MS.  note  a  propos  of  Shorter: 
"  He  had  a  new  Quarter  to  his  Arms  giuen  him  by  K.  lames  2d.  for  receiving  the  Pope's 
nunc[io].  He  was  Grandfather]  to  Catherine  first  wife  of  Sir  R.  Walpole  Earl  of  Or- 
ford."  On  this  show  see  also,  Hone,  pp.  257  f. ;  Fairholt,  pt.  i,  p.  103 ;  J.  G.  Nichols,  p.  116.] 
(Show  for  1688).  London's  Anniversary  Festival,  Performed  on  Monday,  October  the 
29th,  1688.  For  ...  Sir  John  Chapman,  Kt.  Lord  Mayor  .  .  .  Being  Their  Great  Year 
of  Jubilee.  With  a  Panegyrick  upon  the  Restoring  of  the  Charter.  And  a  Sonnet  pro 
vided  for  the  Entertainment  of  the  King.  By  M.  Taubman.  .  .  .  London,  1688.  [B  (2 
copies).  Cf.  Hone,  p.  260;  Fairholt,  pt.  i,  p.  105;  J.  G.  Nichols,  p.  116.] 

(Show  for  1689).  London's  Great  Jubilee;  Restor'd  and  Perform'd  on  Tuesday, 
October  the  2gth,  1689.  For  the  Entertainment  of  ...  Sir  Thomas  Pilkington,  Kt. 
Lord  Mayor  .  .  .  Containing  a  Description  of  the  several  Pageants  and  Speeches,  To 
gether  with  a  Song,  For  the  Entertainment  of  Their  Majesties,  who  .  .  .  Honour  his 
Lordship  with  their  Presence.  All  set  forth  at  the  proper  Cost  and  Charges  of  the  .  .  . 
Skinners.  By  M.  T.  London,  1689.  [BM  (2  copies,  one  imperfect),  B  (2  copies — one 
incomplete),  Gh.  The  BM  has  three  subsequent  editions  of  the  pamphlet,  which  was 
reprinted  in  Somers'  Tracts  (1751)  Third  Coll.,  iii,  p.  33;  ibid.  (2d  edition,  1814),  xi,  p.  584. 
Cf.  also  Fairholt,  pt.  i,  p.  107;  J.  G.  Nichols,  pp.  116  f.]  A  reprint  of  this  show  was  made 
in  1761: 

A  Description  of  the  Several  Pageants  Exhibited  on  the  29th  Day  of  October,  1689, 
Being  the  Day  on  which  the  late  Sir  Thomas  Pilkington,  Knt.  Entered  a  Second  Time  on 
his  Mayoralty  .  .  .  also  two  Songs,  One  to  their  then  Majesties  and  the  other  to  the  Lord 
Mayor.  The  Whole  being  design'd  for  the  Entertainment  of  King  William  and  Queen 
Mary  .  .  .  was  done  at  the  sole  Expense  of  the  .  .  .  Skinners:  And  is  now  published  for 
the  perusal  of  the  several  Companies  of  London,  agreeable  to  the  Recommendation  of 
...  Sir  Matthew  Blackiston,  Knt.  Lord-Mayor,  and  the  Court  of  Common  Council,  held 
on  Saturday  the  3d  of  October,  1761,  to  the  Livery  Companies  of  the  said  City,  for  the 
Entertainment  of  their  present  Majesties,  on  Monday  the  gth  Day  of  November  next, 
being  the  Day  on  which  Sir  Samuel  Fludyer,  Knt.  and  Bart.  Lord  Mayor  elect  will  enter 
on  his  Mayoralty.  [London,  1761.]  [BM,  SA] 

Taylor,  Arthur.     The  Glory  of  Regality.    London,  1820. 

[Taylor,  John].  A  Brief  Description  of  the  Burrough  and  Town  of  Preston,  and  its  Government 
and  Guild,  originally  composed  between  the  years  1682  and  1686.  With  occasional  notes  by 
John  Taylor.  Preston,  1818. 

Taylor,  John,  see  Spenser  Society. 

(Show  for  1634).  Triumphs  of  Fame  and  Honour  [for  Robert  Parkhurst  of  the  Cloth- 
workers  Company.  This  is  mentioned  in  Greg,  p.  25;  J.  G.  Nichols,  p.  105;  Gent.  Mag., 
for  November,  1824,  p.  413,  and  Fairholt,  pt.  i,  p.  57.  It  is  not  included  in  the  Spenser 
Society  collections  of  Taylor's  works  "  not  included  in  the  folio  volume  of  1630."  I  have 
not  seen  a  copy  of  this  pamphlet,  nor  had  Fairholt.] 

England's  Comfort  and  London's  Joy,  &c.  London,  1641.  [8  pp.,  including  "Verses 
presented  to  the  King's  own  Hand  by  John  Taylor."  Illustrated  with  three  woodcuts, 
showing  the  entry  of  Charles  I  from  Scotland  on  25  November,  1641.]  [B  (2  copies); 
reprinted  in  the  Spenser  Society's  collection,  iv,  no.  7.] 

Taylor  Collection  of  Broadsides.    In  the  Guildhall  Library. 

Ten  Brink,  Bernard.  Geschichle  der  Englischen  Liter atur.  (2  vols.),  i,  Berlin,  1877;  ii,  S trass- 
burg,  1893.  [See  ii,  p.  306,  for  mention  of  pageants.] 

Thetford,  Vermont,  Pageant.  W.  C.  Langdon,  Master.  12, 14,  and  15  August,  1911.  Book  of 
Words.  White  River  Junction,  1911. 


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Thomson,  Richard.    Chronicles  of  London  Bridge.    London,  1827. 

Tingey,  J.  C.,  see  W.  Hudson. 

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Two  Hundredth  Anniversary  of  the  Removal  of  Yale  College  to  New  Haven.  Edited 
by  George  Henry  Nettleton.  New  Haven,  1916. 

[Yale  Pageant].  The  Yale  Alumni  Weekly  for  27  October,  1916.  (New  Haven.)  [Francis  H. 
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[Yale  Pageant].    See  Brian  Hooker. 

York.    See  Davies,  F.  Drake,  L.  T.  Smith,  and  Solloway. 

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[York].  The  Book  of  the  York  Pageant.  Containing:  C.  E.  Pascoe's  description  of  the  Pag 
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Christianity,"  by  the  Rev.  Dr.  Solloway;  "  Ecclesiastical  Costumes,"  by  the  Right  Rev. 
Prior  Cummins;  "  Sources  of  Costume  Design,"  by  Major  and  Mrs.  Lindberg;  "  The 
Armorial  Bearings  of  the  Old  Craft  Guilds,"  by  T.  P.  Cooper;  "  Norman  and  Plantage- 
net  Armour  and  Arms,  and  Heraldry  of  the  Pageant,"  by  Colonel  Saltmarshe.  York, 
1909. 

Young,  Sidney.  The  Annals  of  the  Barber-Surgeons  of  London,  compiled  from  their  Records  and 
other  sources.  .  .  .  London,  1890. 

NOTE  :  Recent  English  Pageants  are  pictured  in  the  Illustrated  London  News  (English 

edition)  as  follows: 

Army  (1910):  25  June,  pp.  1016-19;  1021. 
Bath  (1909):  24  July,  p.  iv  (supplement). 
Bury  St.  Edmunds  (1907):  6  July,  pp.  18-19. 
Cardiff  (Wales)  (1909):  31  July,  pp.  i  and  iv  (supplement). 
Chelsea  (1908):  27  June,  pp.  952-953. 

Chester  (1910):  16  July,  p.  99;  ("  Behind  the  Scenes,"  23  July,  p.  144). 
Colchester  (1909):  19  June,  pp.  ii-iv  (supplement). 
Dover  (1908):  25  July,  p.  117. 
English  Church  (1909):  5  June,  p.  809;   12  June,  p.  843;  19  June,  p.  i  (supplement); 

p.  880  (G.  K.  Chesterton  as  Dr.  Johnson.) 
Gloucestershire  (1908):  n  July,  p.  43. 
Liverpool  (1907):  10  August,  p.  191. 
London  (1911):  13  May,  pp.  682-683;  20  May,  p.  740. 
Oxford  (1907):  6  July,  p.  3. 
Pevensey  (1908):  18  July,  p.  79. 
Porchester  (1907):  6  July,  p.  17. 
St.  Albans  (1907):  13  July,  p.  70;  20  July,  pp.  98-99. 
Sherborne  (1905):  10  June,  pp.  814-815. 
Wales,  see  Cardiff. 

Warwick  (1906):  30  June,  pp.  974-975. 

Winchester  (1908) :  27  June,  pp.  956-957.    ("A  Rehearsal"  is  pictured  23  May,  p.  741.) 
York  (1909):  31  July,  pp.  ii,  iii  (supplement). 


INDEX 


INDEX 


THE  NAMES  OF  CHARACTERS  IN  PAGEANTS  ARE  IN  ITALICS 


Ab,  the  Cave  Dweller  (Boston,  1910),  ii,  266;  ii,  268. 

Abbey  Gates  (Chester),  i,  162. 

Abbeville,  Mary,  Queen  of  Louis  XII  at,  (1513),  i, 

171. 

Abbot  of  Melrose  (Ripon,  1886),  ii,  160. 
Abbot  with  model  of  Westminster  Abbey  (London, 

1907),  ii,  133- 

Abbot's  Bromley,  Horn  Dance  at,  ii,  162,  n.  i. 
Abel,  Lord  Kelly,  music  by,  in  the  1783  panto 
mime,  ii,  101. 
Aberdeen,  pageantic  processions  at,  i,  33 ;  —  Bruce 

at,  i,  57;  i,  79;  i,  170;  —Margaret  at,  (1511),  i, 

170. 

"Abhorrer,"  an  (London,  1680),  ii,  173. 
Abney,  Sir  Thomas,  Mayor  of  London  (1700),  ii, 

68. 

Abolition  (Norristown,  1912),  ii,  250. 
Abraham,  an  historical  figure,  i,  78;  —  Battles  of 

the  Plains  of  (Quebec,  1008),  ii,  263. 
Abraham  in  Whitsun  plays  at  Chester,  i,  44,  n.  6; 

(Paris,  1408),  i,  163. 
Abstractions  personified  in  the  1585  Show,  ii,  24;  — 

the  susceptibility  of  the  age  to,  ii,  296. 
Abundance  (Stuttgart,  1609),  i,  99. 
Academic  costume  in  a  Paris  "entry"  (1498),  i, 

164. 

"Academy  of  Sciences"  (1681),  ii,  83. 
Accident  at  tournament,  (1331)  i,  91. 
Accuracy  of  detail,  the  value  of,  in  the  modern 

pageant,  ii,   201,  and  n.   2;  —  in  reproducing 

history  essential,  ii,  279  f ;  —  historical,  in  the 

Marietta  Pageant,  ii,  258,  n.  3. 
Achilles  of  Iceland  (London,  1522),  i,  177. 
Acrobat  at  St.  Paul's  (1547),  i,  186  f.;  i,  187,  n.  i. 

—  (i553),  i,  188;   i,  189;  — (1554),  i,  193  f.;  i, 

194,  n.  i. 

Acrobatic  "wild-men"  (Paris,  1431),  i,  139. 
Activity  of  the  London  guilds,  i,  150,  n.  5;  i,  154  f. 
Acts  against  pageantry  in  Massachusetts,  ii,  176  f. 
Adam  (Aberdeen,  1511),  i,  170;  —  (Bruges,  1468), 

i,  152;  —  (Dublin,  1528),  i,  179;  —  at  Preston, 

i,  34,  andn.  7;  i,  78. 
Adams  Hill  (Knutsford),  ii,  154,  n.  4. 
Adams,  Samuel  (Boston,  1897),  ii,  261,  n.  i. 
Adams,  Sir  Thomas,  on  a  civic  committee,  i,  247. 
Addison  (Oxford,  1914),  ii,  203,  n.  i. 
Adelaide  at  Leicester  (1839),  i,  256. 
Admiral,  An  (Knutsford,  1913),  ii,  154. 
Adrian,  horse  of,  hired,  at  Norwich,  i,  26,  n.  5. 


Adulation  (London,  1559),  i,  201. 
Adventure  (London,  1622),  ii,  75. 
^Eneas,  great-grandfather  of  Brutus,  i,  58. 
JEneas  (London,   (1908),  ii,   135;  —  (Winchester, 

1908),  ii,  225. 

^Eolian  Hall  (New  York),  ii,  287. 
^Eolian  Harp,  the,  idealized  (New  York,  1909),  ii, 

244,  n.  i. 
F^Eschirol,  Mr.,  organist  of  Cathedral  of  Avignon, 

i,  220. 

"aesthetic"  pageant,  the,  ii,  195. 
Africa    (Knutsford,    1913),    ii,    153;  —  London, 

1657),  ii,  47;  —  (London,  1658),  i,  82,  n.  2;  ii,  75; 

—  (London,  1661),  1,245; — (London,  1671),  1,82, 

n.  2;  —  (London,  1674),  i,  82,  n.  2;  —  (London, 

1850),   ii,    115;  — (London,    1919),   ii,    141;  — 

(St.  Louis,  1892),  ii,  253,  n.  6. 
Agility  (London,  1684),  ii,  62. 
Agincourt,  Henry  V  returns  from,  i,  132  f.;  —  a 

scene  in  the  Pageant  of  Wales  at,  ii,  199,  n.  i. 
Aglaia  (London,  1591),  ii,  26;  —  (London,  1533), 

1,183- 

Agnites  (London,  1605),  ii,  29,  n.  2. 
Agreement  ("Bon  Accord",  Paris,  1513),  i,  171. 
Agricultural  Car  (London,  1814),  ii,  163. 
Agriculture    (Antwerp,    1803),    i,    255;  —  (Edin 
burgh,  1908),  ii,  214; — (Keene,  1913),  ii,  271, n. 4. 
Aims,  the,  of  modern  pageants  —  see  purpose. 
Aix,  St.  Christopher  at,  i,  55,  n.  2. 
Aix-en-Provence,  "  Jeux  de  la  F£te-Dieu,"  at,  1474, 

i,  94,  n.  7. 

Ajax  (Winchester,  1908),  ii,  225. 
"Aladdin  in  the  Cave"  (St.  Louis,  1888),  ii,  253, 

n.  5. 
Albania  personified,  (London,  1605),  i,  82,  n.  2;  ii, 

28;  ii,  75. 
Albany,  Duchess  of,  pageant  given  by,  makes  a 

profit,  ii,  206. 

Albert,  Prince,  pictured  at  Belfast  (1914),  ii,  181. 
Albion  (London,  1605),  i,  82,  n.  2;  —  (London, 

(1691),  ii,  75. 

Albmusard  (London,  1432),  i,  145. 
Albyna  and  her  "demon  brood,"  i,  58,  n.  2. 
Alden,  David,  his  family  (Plymouth,  1896),  ii,  259; 

ii,  260;  —  John,   (Plymouth   1896),  ii,   259;    ii, 

260; — Priscilla  (Plymouth,  1896),  ii,  259;    ii, 

260. 
Aldermanic  records,  items  from,  (1676-1679),  ii, 

55  f- 


345 


INDEX 


Aldermen  represented  by  lamps  (1619),  ii,  81. 

Aldgate,  (London),  i,  37;  i,  188;  i,  244. 

Aldrich,  John,  Mayor  of  Norwich,  i,  35,  n.  2;  — 
prepares  a  pageant  in  1563  at  Norwich,  ii,  19, 
and  n.  5. 

Ale/rid,  Prince  (Ripon,  1886),  ii,  160. 

Alexander  III  of  Scotland,  i,  103;  — VII,  Pope, 
i,  17,  n.  6.  Alexander  (image  of),  in  a  triumph  at 
Alexandria,  i,  17,  n.  6;  —  personified  (Bruges, 
1515),  i,  173;  — (Coventry,  1456),  i,  150;  — 
(London,  1621),  ii,  73;  ii,  79,  n.  5;  —  (Paris, 
1431),  i,  138,  n.  4;  —  (Stuttgart,  1609),  i,  99. 

Alexander,  see  also  Worthies. 

"Alexander's  wedding  "  shown  at  Bruges  (1468),!, 
152. 

Alexandria,  triumphs  at,  i,  17,  n.  6;  i,  72,  n.  5. 

Aleyn,  Sir  Thomas,  on  a  civic  committee,  i,  247. 

Alfonso  the  Great  at  Naples,  (1443)  i,  147,  n.  2. 

Alfred,  King,  in  Christmas  plays,  i,  7,  n.  i;  — 
(Ripon,  1886),  ii,  161;  —  (Sherborne,  1905)  ii, 
210. 

"Alice  in  Wonderland"  (Knutsford,  1913),  ii,  154; 

—  scenes  from  (St.  Louis,  1888),  ii,  253,  n.  5. 
Allegorical   characters,    i,    xvi;  —  explanation   of 

Scriptures,  i,  80;  —  figures  in  pageants,  i,  80  ff.; 

—  "picture,"  an,  at  Keene,  ii,  271;  —  signifi 
cance  given  former  mayors  by  Middleton,  ii,  78, 
and  n.  4;  —  "transparencies"  (London,  1814), 
ii,  162. 

Allegory,  i,  xvii;  i,  xviii;  i,  14,  n.  i;  i,  58,  n.  i; 
i,  80;  i,  107;  i,  108;  i,  109;  i,  no;  i,  115  f.;  i, 
136,  n.  i;  i,  141  f.,  and  notes;  i,  143;  i,  144;  i, 
159,  n.  3;  i,  207;  ii,  25;  ii,  77  f.;  ii,  78  f.^  ii,  79, 
n.  2;  ii,  84,  n.  6;  ii,  100;  ii,  115;  ii,  130;  ii,  161; 
ii,  188;  ii,  189;  ii,  212;  ii,  213;  ii,  214;  ii,  222; 
ii,  223;  ii,  239;  ii,  251;  ii,  253,  notes;  ii,  255; 
ii,  273;  ii,  274,  n.  i;  ii,  275;  ii,  282,  and  n.  i; 
ii,  284;  ii,  285;  —  in  the  "royal-entry,"  chs. 
iii,  iv,  and  v,  passim;  —  in  the  civic  shows,  ch.  vi, 
passim;  —  in  American  pageants,  ch.  ix,  passim. 
See  also  the  names  of  the  qualities  personified. 

L' Allegro  (London,  1908),  ii,  135. 

Allen,  "servant  to  the  young  prince,"  takes  part 
of  Genius  (1604),  i,  224,  and  n.  2. 

Allen,  John  (London,  1783),  ii,  100. 

Allen,  Richard,  paid  by  Ironmongers  (1534),  i,  41, 
n.  i. 

Allied  Sovereigns  at  London  (1814),  ii,  162,  n.  6. 

Allied  States  personified  (London,  1919),  ii,  141;  — 
represented  by  folk-dances,  ii,  289. 

All  Saints'  Day,  mayor's  pageants  shown  on  (1605), 
ii,  29. 

Alma,  veterans  of,  in  the  1890  Show,  ii,  125. 

Alma  Mater  (Boston,  1908),  ii,  282. 

Aloth  of  Denmark  (London,  1522),  i,  177. 

Alphonso  (London,  1501),  i,  167,  and  n.  5;  —  (Lon 
don,  1522),  i,  178. 

Alsopp,  William,  paid  because  the  George  was  not 
ridden  (Leicester,  1543),  i,  30. 


Alteration  of  Lord  Mayor's  Day  to  9  November, 

ii,  93- 

Altdorf,  play  of  Tell  at,  ii,  197. 

Amador,  in  a  romantic  tournament,  i,  75,  n.  3. 

Amazons  at  Lille,  (1436)  i,  88;  —  in  a  tilt  (1594), 
i,  218,  n.  7. 

Ambition  (London,  1618),  ii,  38. 

America,  pageantry  in,  ch.  ix  (ii,  235  ff.);  —  pag 
eantry  of,  compared  with  that  of  England,  ii, 
232  f. 

America  (Knutsford,  1913),  ii,  153;  —  (London, 
1657),  ii,  47;  —  (London,  1661),  i,  245;  —  (Lon 
don,  1672),  ii,  53;  —  (London,  1674),  i,  82,  n.2; 

—  (London,  1850),  ii,  115;  —  (London,  1919), 
ii,  141;  —  (St.  Johnsbury,  1912),  ii,  270;  —  (St. 
Louis,  1886),  ii,  253,  n.  4;  —  (St.  Louis,  1892), 
ii,  253,  n.  6;  —  (Thetford,  1911),  ii,  270;  — 
Spirit  of  (Boston,  1910),  ii,  268;  —  (Taunton, 

1911),  ii,  270. 

American  committee  on  the  Pilgrim  Tercentenary 
named,  ii,  277;  —  fleet  defeated  in  a  mock-fight 
(1814),  ii,  162;  —  history,  scenes  from,  (St. 
Louis,  1886),  ii,  253,  and  n.  4;  —  pageants,  alle 
gory  in,  i,  80;  ii,  ch.  ix;  —  town,  a,  represented 
in  the  first  "modern  pageant,"  ii,  204;  ii,  211;  — 
towns,  represented  in  English  pageants,  ii,  215, 
and  n.  2. 

American  Universities  (Boston,  1908),  ii,  282. 

Americas,  the,  represented  by  savages  (1853),  u'> 
117. 

Amicus  (Stuttgart,  1609),  i,  99. 

Amity  (London,  1671),  ii,  51;  —  (Paris,  1513),  i, 
171. 

Amory,  Robert,  planner  of  the  Chester  (1610) 
Show,  i,  229,  n.  2;  i,  230,  n.  i. 

Amphion  (London,  1561),  ii,  18,  n.  2;  ii,  19,  n.  i; 
ii,  73,  n.  2;  —  (London,  1610),  i,  231. 

Amphitrite  in  Grays  Inn  masque  (1594),  i,  218;  — 
(London,  1605),  ii,  28;  —  (London,  1628),  ii,  39; 

—  (London,  1685),  ii,  63. 

Amsterdam,  pageantic  procession  at,   (1910),  ii, 

163. 

Anachronisms,  J.  C.  L.  Clark  on,  ii,  280. 
Ancestors  of  Henri  IV  in  a  pageantic  reception  at 

Avignon  (1600),  i,  220. 
Ancient  armor  displayed  at  Coventry,  ii,  167,  n.a; 

—  Herald  (London,  1822),  ii,  108;  —  (London, 
1828),  ii,  109;  —  (London,  1843),  ii,  112,  n.  i;  — 
(London,   1847),  ii>   I3[3> —  Knights   (London, 
1822),   ii,    108;  —  (London,    1828),   ii,    109;  — 
(London,  1833),  ii,  no;  —  (London,  1841),  ii, 
in;  —  (London,  1843),  ii>  II2>  n-  *>  —  (London, 
1844),  ii,  113,  n.  i;  —  (London,  1847),  ">  JI3J  — 
of  1850,  ii,  115,  n.  2;  —  ridiculed  (1850),  ii,  115; 
—  and  the  old  soldier,  ii,  126.    See  also  "men  in 
armor,"  and  "armed  men." 

Andher  of  Orkney  (London,  1522),  i,  177. 
"An  Dhord  Fhiann"  (New  York,  1913),  ii,  272;  ii, 
2QS- 


INDEX 


347 


Androgeus  (London,  1783),  ii,  98. 

Angel,  an  (Paris,  1596),  i,  219;  — and  falcon  (Lon 
don,  1533),  i,  182  f.,  and  n.  6;  —  in  pageant  of 
St.  Thomas  at  Canterbury,  i,  34;  —  of  Peace,  the 
(Little  Compton,  1914),  ii,  251. 

Angels,  "raw  material"  of  allegory,  i,  xvi,  —  in 
"royal-entries,"  i,  195,  —  represent  de  Medici 
cardinals  (Avignon,  1600),  i,  220,  —  (Bristol, 
1461),  i,  152,  —  Coventry  "followers"  perhaps 
originally,  ii,  168,  n.  2,  —  (Coventry,  1456),  i, 
149;  —  (Coventry,  1511),  i,  170;  —  (Edinburgh, 
1503),  i,  169;  — (Edinburgh,  1908),  ii,  223;  — 
(London,  1392),  i,  130;  i,  131;  —  (London, 
1421),  i,  138;  —  with  St.  Margaret  (London, 
1445),  i,  148;  —  (London,  1487),  i,  161; — 
(London  1501),  i,  167;  i,  168;  —  (London, 
1522),  i,  178;  —  (London,  1661),  i,  243,  n.i;  — 
in  St.  George  procession  at  Norwich,  i,  26,  n.  4; 
i,  27,  and  n.  3;  — (Paris,  1437),  i,  141,  n.  i;- 
(Reggio,  1453),  i,  148,  n.  4;  —  (Valenciennes, 
1330),  i,  94J  — (Venice,  1517),  i,  22,  n.  6;- 
in  castles  (London,  1415),  i,  132,  n.  4;  i,  134;  i, 
I35>  n-  3;  —  mechanical,  (London,  1377),  i,  128; 

—  (London,  1392),  i,  130;  —  (London,  1415),  i, 
I35>  n.  3;  — (London,  1553),  i,  188;  — (York, 
1486),  i,  159,  n.  3. 

"Anglo-Japanese  Alliance,  The,"  an  emblematic 
float  (1902),  ii,  129. 

d'Angoulesme,  Monsieur,  takes  part  in  a  wedding 
masque,  i,  98. 

Anhalt,  Prince  of,  at  civic  show  (1610),  ii,  30. 

Animals,  i,  xvi;  i,  xix;  ch.  i,  §6;  —  of  Antwerp, 
the,  i,  255;  —  used  with  political  significance 
(Boston,  1912),  ii,  255;  —  boys  dressed  as,  in 
folk-plays,  i,  17;  —  pageantic  and  heraldic  (Bru 
ges,  1468),  i,  152;  —  in  Chester  midsummer 
shows,  i,  44  ff.,  and  notes;  —  pageantic,  revived 
at  Chester  (1910),  ii,  224;  —  of  chivalric  fiction 
in  "royal-entries,"  i,  196;  —  combined  with 
heraldry,  i,  196;  —  from  arms  of  Companies 
often  represented,  ii,  72  and  n.  2;  —  in  court 
disguisings  i,  101  f.;  i,  102  and  note  i;  —  in 
church  processions,  i,  64;  —  in  Continental  pro 
cessions,  i,  64,  n.  4;  —  in  folk-celebrations,  i,  64; 

—  folk-custom,  and  heraldry,  i,   121;  —  influ 
ences  of  romances,  pageantry,  and  the  masque 
on,  i,  121 ;  —  in  Italy,  i,  64,  n.  4;  —  at  Kenil- 
worth  (1575),  i,  69;  i,  209  and  n.  i;  —  (London, 
1298),  i,  124;  —  with  St.  John  the  Baptist  on  a 
Grocers'   pageant    (London,    1392),   i,    131;  — 
(London,  1415),  i,  133;  —  draw  a  pageant  into 
the  hall  at  a  wedding  masque  (1501),  i,  113;  — 
of  lead  (London,  1501),  i,  168;  —  draw  a  pag 
eantic  forest  at  court  (1511),!,  115;  —  ina  pag 
eantic  forest  (1511),  i,  115;  —  mechanical  (Lon 
don,  1522),  i,  177; — tamed  by  Orpheus  (London, 
1554),  i,   193;  — (London,   1610),  i,   230; —in 
water- triumph  (1616),  i,  233  f.;  —  with  Orpheus 
(1619),  ii,  73;  —  (fur-bearing)  in  the  1628  Show, 


ii,  39  f.;  —  in  the  1656  Show,  ii,  46;  —  (1657),  ii, 
47;  —  pageantic,  in  "boscage"  (London,  1661), 
i,  246;  —  (London,  1662),  i,  248; — .protected 
by  a  lion  (London,  1664),  ii,  84; — for  a  Skinner 
(1671),  ii,  51;  —  represent  the  continents,  (Lon 
don,  1850),  ii,  115; — at  May-day,  i,  65,  and  n.  i; 

—  in  Midsummer  Shows,  i,  44  f . ;  i,  47 ;  i,  64f ;  — 

—  (Munich,   1662),  i,  118;  —  in  pageant   and 
romance,  ch.  i,  §  6,  (i,  64  ff.);  —  in  romances,  i, 
66;  —(Paris,  1498),  i,  164;  —  (Rouen,  1558),  i, 
98; — primitive  (St.  Louis,  1878),  ii,  253,  n.  2;  — 
(Stuttgart,  1617),  i,  234;  —  with  trade-significa 
tion,  i,    196;  —  "raw  material"  of  trade-sym 
bolism,  i,  64. 

Anjou  (London,  1509),  i,  170. 

Anne  of  Bohemia  received  with  pageantry  at  Lon 
don  (1382),  i,  129;  —  pleads  for  the  citizens 
(1392),  i,  130;  — Boleyn,  at  London  (1533),  i, 
81;  i,  iSoff.;  ii,  10;  —  greeted  by  200  children 
(x 533)1  i>  J84;  —  jousts  following  the  coronation 
of,  i,  97;  —  subtleties  for  (1533),  i,  84;  —  (Lon 
don,  1559)  i,  200;  —  of  Cleves  at  London  (1540), 
i,  185;  —  of  Denmark  at  Edinburgh,  1590,  i, 
215;  —  spectator  at  a  tilt  (1594),  i,  218,  n.  7;  — 
received  at  Cawsome  House  (1613),  i,  209,  n.  6; 

—  (Ripon,   1886),  ii,   161;  —  (York,   1909),  ii, 
224,  n.  7;  —  Queen,  and  her  consort  invited  to 
dine  with  the  mayor  (1702),  ii,  69,  n.  3;  —  at 
Guildhall  (1702),  i,  253. 

"Annunciation"  (Paris,  1431),  i,  140. 

Antelope,  i,  45,  n.  5;  —  (Chester,  1910),  ii,  224;  — 
(London,  1432),  i,  144;  —  and  lion  (London, 
1415),  i,  133;  —  in  1511  joust,  i,  115. 

Antigonus,  i,  55,  and  n.  2. 

"Antiopa  Justificata,"  i,  118. 

"Antiques  and  horribles,"  i,  xv;  ii,  252. 

Antiquity  (London,  1619),  ii,  81;  —  (London, 
1621),  ii,  78,  n.  4;  —  (London,  1622),  ii,  79. 

Antwerp,  Antigonus  at,  i,  55,  and  n.  2;  —  "Groote 
Ommeganck"  of,  i,24,  n.  2;  i,  55,  n.  2;  i,  64,  n.4; 
i,  254;  —  founding  of,  the  legend  concerning,  i, 
254,  n.  4;  —  Napoleon  at  (1803),  i,  254 f.;  — 
older  pageantry  at,  i,  255 ;  —  Victoria  and  Albert 
at  (1843),  ^  256. 

Apollo  usually  accompanied  by  minstrels,  ii,  84;  — 
(Avignon,  1600),  i,  220;  —  (Edinburgh,  1633), 
i,  237;  —  (London,  1533),  i,  182,  and  n.  5; — in 
a  1572  masque,  at  Whitehall,  i,  117;  i,  205,  n.i; 

—  (London,    1661),   i,    243,   n.    i;  —  (London, 
1672),   ii,   53;  — (London,   1685),   ii,   63;— or 
Cupid  (London,  1761),  ii,  95;  —  with  the  Mu 
sicians  (London,  1783),  ii,  99;  —  (London,  1904), 
ii,    130;  — (Paris,    1596),  i,    219;  —  (Stuttgart, 
1617),  i,  234;  —  (Sudeley,  1592),  i,  218. 

Apostles,  martyrdom  of  the,  (Dublin,  1528),  i,  179; 

—  in  Leicester  Whitmonday  procession,  i,  16;  — 
(London,   1415),  i,   134;  —  (London,   1421),  i, 
138; — (London,  1522),  i,  178; — (Norwich,  1461), 
i,  153- 


348 


INDEX 


Apothecaries  with  Esculapius  (London,  1783),  ii,  99- 

Appreciation,  Elizabeth's,  of  popular  welcome,  i, 
199  f. 

Arabia-Britannica  (London,  1604),  i,  224. 

Arabs  in  the  1901  Show,  ii,  129. 

Aragon,  a  tumbler  from,  at  St.  Paul's,  i,  186. 

Arbor,  at  the  Little  Conduit  (1604),  i,  225;  —  at  the 
Conduit  in  Cheap  (1606),  i,  227;  —  of  the  Fish 
mongers  (1616),  ii,  80,  —  (London,  1628),  ii,  39; 
—  with  Moors  and  beasts  (London,  1662),  i, 
248;  —  (London,  1663),  ii,  49;  —  resembling 
Apollo's  temple  (Paris,  1596),  i,  219. 

"Arbre  sec,"  the,  at  Lyons  (1627),  i,  77,  n.  i. 

d'Arc,  Jeanne,  honored  by  festival  at  Compiegne, 
ii,  187,  and  n.  i. 

"Arcadian  Plain,"  the,  in  civic  shows,  ii,  65,  n.  3. 

Arch,  the  Dewey  (1899),  ii,  257;  —  of  Jewels,  the 
(New  York,  1919),  ii,  256;  —  of  Loyalty  (Lon 
don,  1685),  ii,  63;  —  the  Victory  (New  York, 
1919),  ii,  256;  ii,  257. 

"Arches,"  pageantic  (Antwerp,  1843),  i,  256,  and 
n.  6;  (Avignon,  1600),  i,  220;  (Brussels,  1843), 
i,  256,  and  n.  6;  (London,  1553),  i,  188;  (Lon 
don,  1559),  i,  200,  and  n.  4;  i,  201;  (London, 
1661),  i,  243,  n.  i;  i,  2441!.;  (London,  1685,  ii, 
63;  (London,  1863),  i,  257,  n.  i;  (Metz,  1604), 
i,  226,  (New  York,  ii,  256  ff.;  (Norwich,  1578), 
i,  211;  (Paris,  1549),  i,  187;  (Swansea,  1881),  i, 

257- 

Archery  at  Eglinton  (1839),  ii,  184. 

Archideclyne,  i,  146;  i,  152. 

Architectural  features  of  the  New  York  arches, 
discussed,  ii,  256. 

Arena,  the  Boston,  a  pageant  at,  ii,  266;  —  the,  of 
the  modern  pageant,  remarks  on,  ii,  199  f. 

Arete  (London,  1612),  ii,  32. 

Argentein,  Egedius,  i,  75. 

"Argo,"  the,  in  the  London  Shows  of  1615  and 
1623,  ii,  73,  and  n.  4;  ii,  237,  n.  4. 

Argurion  (London,  1618),  ii,  38. 

Argus  in  a  1572  masque,  i,  117;  i,  205,  n.  i. 

Arion  (Edinburgh,  1594),  i,  219;  —  (Kenilworth, 
(I575),  i,  69;  i,  209;  —  (London,  1561),  ii,  18, 
n.  2;  ii,  19,  n.  i;  ii,  73,  n.  2;  — (New  York,  1909), 
ii,  244,  n.  i. 

Aristotle  (London,  1432),  i,  79;  i,  145;  —  (London, 
(1681),  ii,  83. 

Arithmetic  (London,  1661),  i,  245;  —  and  see  Ars- 
metryk. 

Ark  of  the  Covenant,  the,  i,  17. 

Armada,  destruction  of  the,  celebrated  at  St. 
Paul's,  i,  214  f. 

"Armed  Knights"  called  St.  George  and  St.  An 
drew  (London,  1604),  i,  223;  —  "Armed Knight " 
represents  Vulcan,  (Preston  1802),  i,  34;  i,  81;  — 
with  Walworth  (1616),  ii,  80;  (1700),  ii,  80. 

"Armed  Man,"  origin  and  development  into  a  trade 
figure, of  the,  ii,  91,  and  n.  2;  "Armed  Men"  at 
tend  Mayorof  Coventryat  the  Fair  (1710), ii,  167, 


n.  2;  —  personify  Companies  (London,  1641),  i, 
238;  —  surround  a  fort  in  a  masque  (Elvetham, 
1591),  i,  216;  —  at  Lichfield,  ii,  149  f;  —  (Lich- 
field,  1893),  ii,  150;  —  (Lichfield,  1911),  ii,  152; 
—  (Knights)  in  an  Ironmonger's  show  (1618),  ii, 
38;  — (London,  1815),  ii,  104;  — in  1833,  ii, 
109  f.  See  also  "Men  in  Armor,"  and  "An 
cient  Knights." 

Armenian  rug-making  (Boston,  1912),  ii,  247. 

Armor  ,  not  loaned  by  War  Office  (1879),  ii,  120;  — 
"authentic,"  used  in  the  1914  "Bower"  at  Lich 
field,  ii,  152;  —  in  the  1862  procession  at  Coven 
try,  ii,  170,  ii,  171;  from  the  Tower  (1822),  ii, 
108. 

Armorers  and  "man  in  armor,"  at  London,  i,  48; 

—  trade-figure  of  the  (1761),  ii,  95,  and  n.  3;  ii, 
96;  —  (London,  1783),  ii,  99. 

Arms  of  London,  error  in  the  interpretation  of  the, 
ii,  25,  n.  i. 

Army  and  Navy,  history  of  (1911),  ii,  136  f. 

Army  Pageant,  the  (1910),  ii,  222,  n.  2;  —  the 
aims  of  the,  ii,  207,  n.  i ;  given  for  a  charity,  ii, 
206,  n.  2;  ii,  207,  n.  i;  —  opened  by  Lord 
Roberts,  ii,  207,  n.  i. 

Army  "Pageant"  of  1897,  the,  ii,  188. 

Aromatoria  (London,  1684),  ii,  62. 

Arsaces  (London,  1623),  ii,  79. 

Arsmetryk  (London,  1432),  i,  145. 

Art  (Lichfield,  1909),  ii,  151;  —  (Liverpool,  1907) 
ii,  163;  —  (London,  1604),  i,  224. 

Art  Students,  Boston,  give  a  scene  in  the  Boston 
"festival"  (1897),  ii,  260,  n.  3. 

Artegall,  Sir  (London,  1908),  ii,  135. 

van  Artevelde,  James  (London,  1907),  ii,  134. 

Arthur  created  Prince  of  Wales  (1489),  i,  161;  — 
at  Coventry  (1498),  i,  164  f ; —  marries  Kather- 
ine  of  Spain  (1501),  i,  i66f.;  —  pageants  at 
wedding  masque  of  (1501),  i,  113  f. 

Arthur,  King  (Cardiff,  1909),  ii,  199,  n.  i;  —  con 
tributed  to  pageantry  by  the  romance,  i,  58,  n.  i. 

—  (Coventry,  1456),  i,  150;    (Coventry,  1498), 
i,  79;  i,  164;  —  (Dublin),  i,  22;  i,  23;  — (Diis- 
seldorf,  1852),  ii,  147;  —  heirs  of,  at  Kenilworth 
(i57S),  i>  5i,  n.  3;  —  (London,  1501),  i,  167,  n.6; 

—  and  the  Round  Table  (London,  152 2),  i,  177;  — 
(London,  1908),  ii,  135; — episodes  in  the  life  of, 
presented  at  London  (1914),  ii,  196,  n.  i;  — 
(Paris,  1431),  i,  138,  n.  4;  — (York,  1914),  ii, 
230;  —  one  of  the  Worthies,  i,  195;  —  and  see 
Worthies. 

Arthurian  Legend,  the,  (Edinburgh,  1908),  ii,  214; 
—  "round  table"  influences  that  of  1344,  i,  93. 

Artificers  v.  poets,  ii,  35,  n.  3. 

Artificial  horses  in  a  wedding  masque  at  Rouen 
(1558),  i,  98;  Artificial  animals — see  mechanical. 

Artificial  scenery,  remarks  on  the  use  of,  in  pag 
eants,  ii,  200,  n.  3. 

Artillery  Company,  the  exercises  of,  at  Merchant 
Tailors  Hall  (1638),  i,  237  f.;  —  receives  mayor 


INDEX 


349 


(1679),  ii,  58;  —  salutes  the  mayor  (1682),  ii, 
60; — parades  in  1683,  ii,  61 ; — in  the  1700  Show, 
ii,  68; — in  the  1739  procession,  ii,  89; — (c  1740), 
ii,  91;  —  in  many  shows,  ii,  61,  n.  2; —  and 
other  troops,  in  the  1914  Show,  ii,  140;  —  the 
Ancient  and  Honorable,  members  of,  give  scene 
in  the  Boston  "festival"  of  1897,  ii,  261. 

Artisan-strangers'  pageant,  the,  (Norwich,  1578), 
i,  210. 

Artists'  festivals  or  revels,  ii,  147  f.  and  notes. 

Arts,  the,  (Edinburgh,  1908),  ii,  214;  —  represented 
(1850),  ii,  115;  ii,  116;  —  represented  by  a  car 
(1890),  ii,  126;  —  represented  at  Lichfield  in 
1912,  ii,  152;  —  the  Seven  (Oxford,  1907),  ii, 
223;  —  of  Greece  represented  in  1904  Show,  ii, 
130;  —  and  Sciences,  the  passing  of,  from  the 
Old  World  to  the  New  (New  Haven,  1916),  ii, 
274,  n.  i. 

Arts,  the  Liberal  —  and  see  Liberal. 

Arundel,  Earl  of,  in  a  tourney  (Paris,  1431),  i,  96; 
—  in  a  tilt  (1581),  i,  213. 

Ascanius  (London,  1908),  ii,  135. 

Ascension  Day,  perambulation  at,  i,  ii,  n.  2;  i,  14. 

Ascham,  Roger  (London,  1907),  ii,  134. 

Ashton-under-Lyne,  i,  16. 

Ashuelot  Chapter,  D.  A.  R.,  gives  a  pageant,  ii, 
271. 

Asia  (London,  1657),  ">  475  —  (London,  1658),  ii, 
75;  —  (London,  1661),  i,  245;  —  (London,i674), 
i,  82,  n.  2;  —  (London,  1850),  ii,  115;  —  (Lon 
don,  1919),  ii,  141;  —  (St.  Louis,  1892),  ii,  253, 
n.  6. 

Ashton,  John,  his  description  of  the  1850  Show,  ii, 

115  f- 

Ass,  the  (Chester,  1910),  ii,  224. 
Ass,  Feast  of,  the,  i,  15;  i,  64. 
Asses,  i,  15,  and  n.  i;  i,  44,  n.  8;  i,  64. 
"  Assimilation  of  the  Nations,  the  "  (Boston,  1910), 

ii,  266;  ii,  267. 
Associated  and  neutral  peoples,  the,  represented  in 

a  New  York  pageant  (1918),  ii,  251  f. 
Assowan  (Little  Compton,  1914),  ii,  251. 
"Assumption  of  our  Lady,  the"  (Chester,  1497),  i, 

162;  —  (London,  1522),  i,  40,  and  n.  3;  i,  175;  — 

(1540),  ii,  n,  and  n.  2;  —  (York,  1486),  i,  159. 
Asteley,  John,  jousts  at  London  (1442),  i,  96. 
Astley's,  "Men  in  Armor"  from,  (1857),  ii,  118. 
Astraa  (London,  1591),  ii,  26;  —  (London,  1604), 

i,  225;  — on  a  transparency  (1814),  ii,  162. 
Astronomy   (London,    1432),   i,    145;  —  (London, 

1661),  i,  245. 

Ath,  Goliath  at,  i,  55,  and  n.  2. 
Athelstan  (Ripon,  1886),  ii,  161. 
Atlas,  statue  of  (London,  1661),  i,  243,  n.  i;  i, 

245;  —  (Munich,  1662),  i,  118. 
Attack,  an,  on  the  Godiva  procession  (1845),  u> 

169;  —  on  the  London  Shows,  ii,  117  f.;  —  on 

the  Eglinton  tournament,  ii,  183. 
"  Aucassin  and  Nicolette,"  giant-herdsman  in,  i,  53. 


Auditus  (London,  1613),  ii,  34. 

Augusta  [London  personified]  in  London  Lord 
Mayor's  Shows,  i,  82,  n.  2;  ii,  75;  —  (London, 
1700),  ii,  80,  n.  7. 

Augustine  friars  (London,  1680),  ii,  173. 

Augustus  II  crowned  King  of  Poland  (1698),  i, 
252. 

d'Aumalle,  Monsieur,  son  of,  in  a  wedding  masque, 
i,  98. 

Aurifera  (London,  1684),  ii,  62. 

Ausonius,  theCenturion  (London,  1914), ii,  i9O,n.  i. 

Auster  (London,  1661),  i,  246. 

Australasia  (London,  1919),  ii,  141. 

Australia  represented  by  a  float  (London,  1883),  ii, 
122;  —  car  emblematic  of  (1901),  ii,  128;  — 
represented  by  a  car  in  "Britannia's  Muster," 
ii,  188;  ii,  189. 

Australia  (Knutsford,  1913),  ii,  153;  —  (Lichfield, 
1911),  ii,  152;  —  (London,  1853)  i,  256;  ii,  116, 
n.  3;  —  (London,  1890),  ii,  75,  n.  6;  ii,  126;  — 
(London,  1919),  ii,  141. 

Autocracy  (Providence,  1919),  ii,  289. 

"Autofloats"  [motor-pageants],  at  Boston  (1912), 
ii,  246,  notes  4  and  5. 

Automata  in  romances,  i,  54. 

Autumn  (Cambridge,  1919),  ii,  284;  —  (Edin 
burgh,  1908),  ii,  223;  — (London,  1677),  ii,  74; 

—  [expressed  by  a  dance]  (Peterborough,  1910), 
ii,  265;  — (Stuttgart,  1617),  i,  234. 

Avona  in  the  Gloucestershire  Pageant  (1908),  ii,  75, 

n.  7;  ii,  216  f. 

Avignon,  Marie  de  Medici  at  (1600),  i,  220. 
Awashonks  (Little  Compton,  1914),  ii,  251. 
Aylmer,  Sir  Laurence,  i,  39;  ii,  10,  n.  2;  ii,  24. 
Aymon,  the  four  sons  of,  i,  55;  i,  77,  n.  i. 

Bablake,  (Coventry),  i,  149;  i,  153. 

"Baby"  [or  effigy]  at  the  "Greenhill  Bower,"  ii, 

148. 

Bacchantes  at  Alexandria,  i,  72,  n.  5. 
Bacchus,  the  feast  of,  i,  5;  —  figure  of,  found  at 

Caister,  i,  72,  n.  5. 
Bacchus  at  Alexandria,  i,  17,  n.  6;  —  in  a  1427 

mumming,  i,  107;  —  car  of,  at  Vevey,  ii,  147, 

n.  4;  —  entry  of,  into  Lyons  (1627),  ii,  147,  n.  4; 

—  (Dublin,  1528),  i,  179;  — (Dublin,  1665),  i, 
251;  — (Edinburgh,  1579),  i,  213,  and  n.  i;  — 
(London,    1661),   i,    246;  — with   the   Vintners 
(London,  1702),  ii,  73;  —  (London,  1783),  ii,  99; 
-(Paris,  1513),  i,  171;  — (St.  Louis,  1878),  ii, 
253,  n.  2. 

Bachelors'  Barge,  the  (1487),  i,  161. 
Backgrounds  for  the  modern  pageant,  remarks  on, 

ii,  199  f.;  ii,  200,  n.  3. 
Bacon,  Francis,  on  the  pageantic  features  of  jousts, 

tourneys,  and  barriers,  i,   115;  —  writes  prose 

speeches  for  a  tilt  (1595),  i,  219. 
Bacon,  Francis  (London,  1889),  ii,  124. 
Badger,  Mr.,  author  of  verses  (1575),  i,  208,  n.  2. 


350 


INDEX 


Baker,  G.  P.,  "pageant"  defined  by,  ii,  291;  — 
on  the  "revival"  of  pageantry,  ii,  197,  n.  3;  — 
master  of  the  Peterborough  Pageant  (1910),  ii, 
264;  —  on  the  Boston  Pageant  of  1910,  ii,  266; 

—  director  of  the  Hollis  Hall  Pageant  (1913),  ii, 
272;  —  appointed  to  write  the  Plymouth  Pag 
eant  of  1921,  ii,  277,  n.  i;  —  notes  elements  of 
the  chronicle-history  and  morality  in  American 
pageants,  ii,  218,  n.  5. 

Baker,  Peter,  paid  for  device  of  a  pageant  (1569), 

ii,  21. 

Baker,  Richard,  pageant-maker  (1566),  ii,  20. 
Bakers  of  Dublin,   the,   show  the   "comedy  of 

Ceres,"  (1528),  i,  179. 

Bakers,  the,  with  Ceres  (London,  1783),  ii,  99. 
Bakhowse,  paid  for  pageants  (1534),  i,  41,  n.  i. 
Bailiff  (London,  1783),  ii,  08. 
Baird,  W.  S.,  pictured  at  Belfast  (1914),  ii,  181. 
Balaam  at  Chester,  on  Midsummer  Eve  (1602),  i, 

44,  n.  6. 
Balaklava,  veterans  of,  in  the  1890  Show,  ii,  125; 

—  in  1910,  ii,  136. 
Balder,  i,  5. 

Baldwin,  Count  (Bruges,  1515),  i,  172. 

Baldwin  Locomotive  Works,  the  first  engine  to  be 

built  by  the  founder  of,  ii,  249. 
"Ball,  a  pageant,"  or  "historical,"  at  Quebec  (1908) 

ii,  264,  n.  i. 
Ball  and  Cross,  symbolism  of  the,  at  coronations, 

i,  155- 

Ballet,  one  of  the  City  Waits  (1801),  ii,  102. 
Ballet  and  pageant  in  Italy  (1465),  i,  14,  n.  i;  — 

in  the  Boston  Pageant  of  1910,  ii,  267;  —  "  des 

Chevaux"  at  the  1912  tournament,  ii,  185;  — 

in  a  Marblehead  "pageant,"  ii,  277,  and  n.  4; 
"Balls  and  Pageants"  in  London,  (1914)  ii,  146  f. 
Baltimore,  a  tournament  near,  ii,  286,  n.  4. 
Bampton,  a  Jack  at,  i,  70. 
Banard  Castle  —  see  Barnard. 
Bankside,  the,  ii,  6. 
Banner,  a  symbolic  (Ripon,  1886),  ii,  159; s, 

picture  historical  scenes  (Belfast,  1914),  ii,  181  f.; 

—  in  the  Boston  procession  of  1912,  ii,  246;  — 
in  the  St.  Louis  procession  of  1847,  ii,  238,  and 
n.  i ;  —  on  Scarva  Day,  ii,  186. 

Banquet,  the  civic,  at  the  end  of  the  xviii  century, 
ii,  101  f.;  —  cost  of  (1727),  ii,  88. 

Barabas  (London,  1908),  ii,  135. 

Barbarism  (London,  1613),  ii,  34. 

Barbarian,  a  (London,  1617),  ii,  76. 

Barbarians,  victims  of  the,  in  the  1914  "Tourna 
ment",  ii,  190. 

Barbary,  Ambassador  from,  received  at  London 
(1637),  i,  237. 

Barber,  John,  Mayor  of  London,  (1732),  ii,  89. 

Barber-Surgeons  ranked  as  the  seventeenth  Com 
pany,  ii,  56;  —  records  of  the,  show  precautions 
against  plague  (1603),  ii,  28;  —  the,  take  part  in 


the  civic  progress  of  1785,  ii,  101;  —  the,  in  the 
1890  procession,  ii,  125. 

Barclay,  David,  receives  the  royal  family  (1727), 
ii,  88,  n.  5;  (1761),  ii,  96;  entertainer  of  Royalty 
ii,  96. 

Barclewch,  Lord  of,  as  an  Amazon,  i,  218,  n.  7. 

Bard,  W.,  declaims  verses  to  Monk  (1660),  ii,  57, 
n.  i. 

Bard,  an  ancient  British  (London,  1618),  ii,  38- 
s,  (London,  1891),  ii,  126. 

Barge,  a,  in  1591,  ii,  26;  —  in  1602,  ii,  27,  n.  4;  — 
to  be  kept  at  the  Three  Cranes  Wharf,  ii,  45 ;  — 
of  Grocers  used  by  Goldsmiths  (1643),  ii,  43;  — 
of  Goldsmiths  used  for  the  last  time,  ii,  113;  — 
the  last,  built  in  1807,  ii,  118,  n.  i;  —  the  may 
or's,  disposal  of,  ii,  119,  n.  i;  —  plans  for  tow 
ing  of  (1849),  ii,  114;  —  of  the  Skinners  (1761), 
ii,  95;  —  a  tow  for  the,  offered  (1839),  ii,  in ;  — 
left  by  the  tide  (1740),  ii,  92. 

Barges  in  1553,  ii,  13;  —  of  the  citizens  meet  Eliz 
abeth  (1559),  i,  199;  —  in  the  1561  Show,  ii, 
19;  —  of  Goldsmiths  and  Skinners,  i,  255. — 
prevented  from  landing  by  tide  and  wind  (1653), 
ii,  43 ;  —  Companies  attend  the  mayor  in,  (1656), 
ii,  45  f.;  —  of  Companies  described,  ii,  67;  — 
Mayor  and  Companies  go  to  Westminster  in 
(1667, 1668),  ii,  50;  —  used  by  Mayor  and  Com 
panies  (1679),  ii,  57;  —  prepared  for  the  1680 
Show,  ii,  59;  —  in  1700,  ii,  68;  —  in  1822,  ii,  108; 

—  towed  in  1842,  ii,  112;  —  in  1842,  ii,  112,  n.  i; 

—  in  1856  for  the  last  water  procession,  ii,  117  f.; 

—  not  used  in  1857,  ii,  118. 
Barker,  Granville,  i,  121. 

Barkers'  pageant,  the,  (Coventry,  1498),  i,  164. 

Barkham,  Sir  Edward,  on  a  committee  to  view 
pageants  (1626),  i,  235;  —  ancestor  of  Walpole, 
ii,  124,  and  n.  2;  —  William,  pageant  near  house 
of  (Norwich,  1556),  ii,  17. 

Barlow,  Hugh,  paid  because  the  George  was  not 
ridden  (1543),  i,  30. 

Barnard  Castle  (London)  i,  173,  n.  4;  ii,  13;  ii, 
138,  and  n.  i. 

Barnard  Castle,  Ward  of,  ii,  92. 

Barnardo's  Homes,  boys  from  the,  in  the  1913 
Show,  ii,  138. 

Barons  of  the  Cinque  Ports  (London,  1907),  ii,  133. 

Barons  of  the  Exchequer  can  receive  mayor's  oath, 
ii,  4- 

Barrier,  the,  in  the  pageant,  i,  in; — Bacon  on 
the  pageantic  features  of,  i,  115;  —  "masque," 
and  "entertainment,"  distinguished,  i,  115;  — 
in  the  Winchester  Pageant  (1908)  ii,  225  f. 

Bartlethet,  deviser  of  pageants,  (1554),  i,  189,  n.i. 

Bartholomew  Fair  proclaimed  (1680),  ii,  58. 

Barton,  Sir  Henry  (London,  1619),  ii,  81,  n.  2. 

Basinghall  Street  (London),  ii,  114. 

Batavia  (London,  1691),  i,  82,  n.  2;  ii,  75. 

Bates,  Miss  E.  W.,  on  the  cost  of  school  pag 
eants,  ii,2o6,  n.  2. 


INDEX 


351 


Bat[e]s,  Richard,  pageant  near  the  house  of  (Nor 
wich,  1556),  ii,  16. 

Bateman,  Sir  Anthony,  Mayor  of  London  (1663), 
ii,  49,  n.  i. 

Bath,  American  and  Canadian  Baths  at,  ii,  215, 
n.  2; —  celebration  of  the  coronation  at  (1661), 
i,  243,  n.  i;  —  effigies  of  Don  Blass  burnt  at, 
(1740),  ii,  178,  n.  4; —  Pageant,  the  (1909),  i, 
215,  n.  4;  i,  162,  n.  2;  ii,  221,  n.  2;  ii,  222,  n.  2; 
ii,  224,  n.  7 ;  ii,  226,  n.  i ;  —  stories  of  the  founda 
tion  of,  i,  78,  n.  i. 

Bath  (Bath,  1909),  ii,  215,  n.2. 

Battery  A,  members  of,  give  a  scene  in  the  Boston 
"festival"  of  1897,  ii,  261. 

Battle,  mock,  at  Bristol  (1574),  i,  206  f.;  —  at 
Sandwich,  (1573),  i,  206;  —  at  Warwick  (1572), 
i,  205;  i,  206,  n.  2;  —  at  Scarva,  ii,  186  f. 

Battleships,  the  parade  of,  (New  York,  1909),  ii, 
242,  n.  3. 

Bavaria,  tree-spirit  in,  i,  51,  n.  2. 

Bayard,  the  gigantic  horse,  i,  55. 

Baynard,  Castle  —  see  Barnard. 

Beaconsfield,  Lord,  pictured  at  Belfast  (1914),  ii, 
181. 

Bear  and  the  Ragged  Staff,  the,  at  Warwick,  ii,  218. 

Bears,  (London,  1656),  ii,  46. 

Beatitudes  personified  (London,  1559),  i,  201;  — 
the  Eight  (London,  1623),  ii,  82. 

Beau  Slasher,  champion  of  winter,  i,  5. 

Beauty  discussed  in  connection  with  arches  of 
triumph,  ii,  256. 

Beauty  (Edinburgh,  1008),  ii,  223;  —  (London, 
1684),  ii,  62;  —  and  the  Beast  (Lichfield,  1914), 
ii,  152;  —  (Revere,  1912),  ii,  254;  —  the  Queen 
of,  at  Eglinton,  ii,  182.  n.  2;  liable  to  arrest  and 
punishment,  ii,  183;  pavilion  for,  ii,  184;  —  the 
Queen  of,  at  the  1912  tournament,  ii,  185. 

Becher,  Sir  Edward,  Mayor  of  London  (1727),  ii,  88. 

Beck,  Christopher,  to  find  "wild-men"  (1566),  ii, 
21,  n.  2. 

Bedford,  Duchess  of,  receives  Henry  VI  at  the 
h6tel  des  Tournelles  (1431),  i,  140. 

Beebe  Lake,  ii,  283. 

Beegle,  Miss  Mary  P.,  on  the  term  pageant,  ii,  292. 

Beelzebub,  in  Christmas  plays,  i,  7,  n.  i. 

Beer-drinker,  a  (St.  Louis,  1847),  ii,  239. 

Behourt,  roi  de,  at  Lille,  i,  88. 

Bel,  Druidical  worship  of,  i,  7. 

Belfast,  Orange  procession  at  (1914),  ii,  180  f. 

Belgia,  the  seventeen  provinces  of,  personified 
(London,  1604),  i,  224. 

Belgians'  pageant,  the  (1604),  i,  224. 

Belgium,  influence  of  processions  in,  on  the  Lord 
Mayor's  Show,  ii,  116. 

Belial,  in  the  "  Castle  of  Perseverance,"  i,  no. 
Bell,  MacKenzie,  on  the  "Pageant  of  the  Months," 

ii,  191,  n.  i. 

Bell  and  Columbus  linked  with  trade  (Boston, 
1912),  ii,  247. 


Belle  Sauvage  Yard,  Cutlers'  sign  in  the,  i,  68. 

Bellman,  a  (London,  1680),  ii,  173  [cf.  the  Town 
Crier  at  Boston  (in  1910  and  1912)]. 

Bellona  (London,  1628),  ii,  39. 

"Benedictine  Rule  at  Sherborne,  the,"  in  the 
Sherborne  Pageant,  ii,  210. 

Benson,  F.  R.,  master  of  the  Winchester  Pageant, 
ii,  204,  n.  i;  —  "producer"  of  the  1912  tourna 
ment,  ii,  185. 

Beowulf,  a  hero  of  great  strength,  i,  53,  n.  i. 

Berry  and  Barker,  coach  builders,  complain  (1767), 

ii,  93  f- 

Berwick  Castle,  scene  at,  at  Marblehead,  ii,  277. 

Bessy,  the,  in  the  sword-dance,  i,  5;  in  the 
Plough- Monday  play,  i,  12;  —  and  the  Clown 
(Hertford,  1914),  ii,  224,  n.  7. 

Betsy  Ross  Club,  the,  a  float  provided  by,  (Boston, 
1912),  ii,  246,  and  n.  3. 

Betsy  Ross  (Norristown,  1912),  ii,  249. 

Beverley,  Saints'  guilds  at,  i,  17. 

Bible,  the,  and  history,  i,  195;  —  given  Elizabeth 
by  Truth  (1559),  i,  202;  —  a  bogus,  in  the  Pack 
Monday  Fair,  ii,  156;  —  History  of  the,  (St. 
Louis,  1887),  ii,  253;  —  pioneer  exponents  of 
the,  named  in  the  1904  Show,  ii,  130;  —  Victoria 
presenting  a,  to  an  Indian  subject,  a  popular 
picture  (Belfast,  1914),  ii,  181. 

Biblical  characters,  i,  xvi;  i,  58,  n.  i; — linked 
with  those  of  local  history  (Bruges,  1515),  i, 
172  f.;  —  in  the  civic  shows,  ii,  82  f.;  —  in  pag 
eantry,  i,  77  f.;  —  in  the  "royal-entry,"  i,  195. 

Biblical  element,  the,  in  the  "royal-entry"  (Lon 
don,  1445),  i,  148;  — (London,  1559),  i,  202,  and 
n.  2;  —  in  French  "feux  d'artifice,"  i,  241;  — 
and  mythology,  ii,  82. 

Biblical  and  historical  material  at  Bruges  (1515), 
i,  76,  n.  2. 

Biblical  and  romantic  elements  combined  (1486), 
i,  160. 

Biblical  subjects  suggested  in  pageantic  cavalcade 
(Stuttgart,  1617),  i,  234. 

Biblical  and  trade  elements  combined  (London, 

1392),  i,  131- 

Bill  Hart  in  Brooklyn  mumming,  ii,  158. 
Billers,  Sir  William,  Mayor  of  London  (1733),  ii, 

89. 

Billet  in  1671  "interlude,"  ii,  51;  ii,  76. 
Birch,  Samuel  (London,  1895),  ii,  127. 
Birds  in  "royal-entries"  i,  134;   i,  139,  and  n.  3; 

i,  144,  and  n.  3;  —  released  at  a  festival  (Valen 
ciennes,  1330),  i,  94. 
Bisham,  Elizabeth  at,  (1592)  i,  217  f.;  —  Syhanus 

at,  i,  73,  n.  5. 

Bishops  (London,  1680),  ii,  173. 
Bishops  Palace  (London),  i,  157. 
Bishopsgate  Street  (London),  i,  173. 
Bissari,  P.  P.,  i,  118. 
Black  Bear,  the,  Barclay  receives  his  royal  guests 

at  (1727),  ii,  88,  n.  5. 


352 


INDEX 


Blackfriars  Bridge  and  Stairs,  i,  63;  ii,  55;  ii,  58; 

ii,  60;  ii,  69,  n.  3;  ii,  88;  ii,  89;  ii,  91;   ii,  95, 

n.  3;  ii,  97;  ii,  no;  ii,  112,  ii,  113,  n.  5;  ii,  114; 

ii,  117. 

Blackheath,  (London), i,  132;  i,  142;  i,  143;  i,  148. 
"Black  Lad,  riding  the,"  i,  16. 
Black  Prince,  the  (Coventry,  1862),  ii,  170. 
Blacksmiths  with  Cyclops  (London,  1783),  ii,  99. 
Blackstone  (Boston,  1897),  ii,  260. 
Blackwell  Hall,  i,  253,  n.  i;  ii,  21. 
Bladud,  the  founder  of  Bath,  i,  78,  n.  i. 
Bladud  (Bath,  1909),  ii,  218,  n.  i;  ii,  224,  n.  7. 
Blaise,  Bishop  (Coventry,  1826),  ii,  168,  and  n.  i ; — 

(Coventry,  1862),  ii,  170,  n.  7;  —  at  Preston,  i, 

34,  and  n.  7;  —  with  the  Woolmen  (London, 

1783),  ii,  99. 

Blake,  Admiral  (London,  1911),  ii,  137. 
Blake,   Robert,    with   the   Barbary   Ambassador 

(1637),  i,  237. 
Blakiston,  Sir  Matthew,  Mayor  of  London  (1761), 

ii,  94,  n.  i. 
Blanke,  Sir  Thomas,  Mayor  of  London  in  1582,  ii, 

22. 

Blass,  Don,  effigies  of,  burnt  at  Bath  (1740),  ii, 

178,  n.  4. 

Blenheim,  era  of  (London,  1897),  ii,  188. 
Blennerhassett's,  a  minuet  at,  (Marietta,  1888), 

ii,  258. 

Blie,  place  for  tournament  near,  i,  89. 
Blight  of  commercialism,  the,  ii,  206  f. 
Bloomington,  Indiana,  Hallowe'en  mumming  at, 

ii,  159- 

Blow,  John  (London,  1908),  ii,  135. 
Blue  Anchor  Tavern  (Philadelphia),  ii,  240. 
Bluebeard  (St.  Louis,  1888),  ii,  253,  n.  5. 
Blue-coat  boy  gives  Latin  oration  to  Elizabeth 

(1559),  i,  202. 
Blunderbore,  in  the  Christmas  mummers'  play,  i, 

7,  n.  i. 
Boadicea  (Bury  St.  Edmunds,  1907,  Colchester, 

1909),  ii,  217,  n.  3;  — (London,  1914),  ii,  228, 

n.  2. 
Boat,  a  Viking,  with  Norsemen  (Ripon,  1886),  ii, 

1 60.    See  also  Ship. 
Boat-jousts  (1536,  1539),  i,  98. 
Boethius  (London,  1432),  i,  145;   (London,  1501), 

i,  167  and  n.  5. 

"Body"  of  pageantry,  the,  i,  xvii;  i,  85. 
Bohemia,  mock  death  of  "wild-man"  in,  i,  51,  n.  2. 
Bohemian  Club  "Jinks,"  the,  ii,  264;  ii,  286,  and 

n.  5;  ii,  295. 
Bologna,  tournament  and  pageantry  at,  1628,  i, 

67,  n.  i. 
Bonaparte,  statue  of,  to  greet  Napoleon  (Antwerp, 

1803),  i,  254. 
Bonfires,  i,  36,  n.  5;  —  at  Coventry,  i,  46;  — at 

London,  i,  37;  i,  173;  ii,  174;  —  in  streets,  acts 

against,  in  Boston  (1755-63),  ii,  176,  n.  2. 
Bon  espoir  (1511),  i,  97;  i,  116. 


Bonvaleir,  i,  97. 

Bon  voloire  (1511),  i,  97;  i,  116. 

Bookbinders,  exhibit  of  the  (Edinburgh,  1832),  ii, 
166. 

Boone,  Daniel  (St.  Louis,  1886),  ii,  253,  n.  4. 

Booth,  a,  of  three  storeys  erected  for  City  of 
London  School  boys  (1837),  ii,  in,  n.  2. 

Boreas  (London,  1661),  i,  246. 

Borso,  Duke,  at  Reggio  (1453),  i,  148,  n.  4. 

Boscawen,  Admiral  (London,  1911),  ii,  137. 

Boscobel  in  a  civic  pageant  (1660),  ii,  48. 

Boston,  anniversary  celebrated  by  pageantry  in 
1880,  ii,  239  and  n.  i;  —  celebration  of  Colum 
bus  Day  at,  (1912),  ii,  245  f.;  —  effigies  burned 
at,  i,  16;  i,  51,  n.  2;  ii,  176  f.;  —  "From  Cave 
Life  to  City  Life,"  at,  ii,  265  f.;  —  "Historical 
Festival,"  the,  of  1897,  ii,  260  f.;  —  honors 
Washington  with  a  procession  of  trades  (1789), 
ii,  177;  —  Massacre,  the  (Boston,  1897),  ii,  261; 
—  Normal  School  Pageant,  the,  ii,  226,  n.  4;  ii, 
281  f.;  —  political  pageantry  at,  ii,  i76f.;  —  in 
1912,  ii,  254  f.; — Tea  Party,  the,  (Boston, 
1897),  ii,  261;  —  trade  procession  at  (1788),  ii, 
236. 

Boston  and  the  suburban  cities  personified  (Boston, 
1910),  ii,  267;  ii,  268. 

Bosworth  Field,  celebrated,  i,  157; — Henry  VII 
crowned  on  (1909  ii,  (199),  n.  i. 

Bottener,  Adam  (Coventry,  1848),  ii,  170,  and  n.  2; 
—  (Coventry,  1862),  ii,  170,  n.  7. 

Bottener,  William  (Coventry,  1848),  ii,  170,  and 
n.  2;  —  (Coventry,  (1862),  ii,  170,  n.  7. 

Boucke,  Mr.,  schoolmaster,  composer  of  speeches 
(i556),ii,  16. 

Bounty  (London,  1623),  ii,  78. 

Bourges,  an  " Eselturnier "  at,  i,  99,  n.  i. 

Bourne,  W.,  takes  the  part  of  Zeal  (1604),  i,  225. 

Bournemouth,  centenarian  procession  at  (1910), 
ii,  238,  n.  3. 

Bowater,  Sir  Thomas  V.,  Mayor  of  London  (1913), 
ii,  139,  n.  i. 

Bow  Church  (London),  ii,  88,  n.  4,  and  n.  5;  ii, 
96;  —  model  of,  in  the  1884  Show,  ii,  122,  n.  3;  ii, 
123. 

Bower,  a,  for  the  Coventry  shepherd  and  shep 
herdess,  ii,  168,  n.  i;  ii,  170; — on  Fleet  Con 
duit,  i,  228,  n.  2;  —  of  the  Fishmongers  (1616), 
ii,  80. 

Bowles,  George,  Mayor  of  London  (1617),  ii,  37, 
n.  4. 

Bowling-green,  scenes  on  the  old,  (New  York, 
1909),  ii,  243. 

Boy  (Peterborough,  1910),  ii,  264;  —  addresses 
Queen  Adelaide  (Leicester,  1839),  i,  256;  — 
addresses  William  III  (London,  1697),  i,  252;  — 
impersonates  St.  Elene  at  Beverley,  i,  17;  — 
Morris  dancers  (Lichfield,  1914),  ii,  152;  — 
presents  keys  of  city  to  James  VI  (Edinburgh, 
1579),  i,  212;  i,  213,  n.  i. 


INDEX 


353 


Boyne,  anniversary  of  the  Battle  of  the,  observed, 
ii,  180;  —  Battle  of  the,  pictured  at  Belfast 
(1914),  ii,  181. 

Boyne,  the  (London,  1691),  ii,  75. 

Boyl,  Philip,  of  Aragon,  jousts  at  London  (1442), 
i,  96. 

Boys  as  animals,  i,  17;  —  in  the  "Bower"  pro 
cession  (Lichfield,  1893),  u',  15°; —  dressed  in 
leaves  in  Vevey  festival,  ii,  147,  n.  4;  —  from 
various  institutions  in  the  1913  Show,  ii,  138;  — 
"naked,"  in  Chester  Shows,  i,  44-46  and  notes; 

—  representing  Scotland  and  England  (London, 
1662),  i,  249;  —  speak  from  Worcester  pageants 
(1575),  i,  210;  —  take  part  in  Bristol  reception  to 
Elizabeth,  i,  206;  boy  scouts  (Knutsford,  1913), 
ii,  154;  —  at  Lichfield,  (1909)  ii,  151;  —  in  the 
1910  Show,  ii,  136;  —  in  the  1913  Show,  ii,  138; 

—  to  observe  the  Pilgrim  Tercentenary,  ii,  276. 
Brabant,  Duke  of,  wedding  of  the  (1853),  i>  256- 
Brabo,  founder  of  Brabant,  i,  254,  n.  4. 
Brackenbury,  Richard,  his  letter  to  Lord  Talbot 

describing  the  1590  tilt,  i,  215,  n.  4. 

"Bradford,  Farewell  of  Governor,"  (Plymouth, 
1896),  ii,  259;  ii,  260. 

Brakely,  place  for  tournament  near,  i,  89. 

Brampton,  a  scene  in  the  1914  "Tournament" 
near,  ii,  190. 

Bran,  founder  of  Bristol,  i,  79,  n.  i. 

Brand,  J.,  on  parochial  perambulations,  i,  13  ff. 

Brand,  Right-hitting  (London,  1615),  ii,  144,  n.  i. 

Brandamore,  a  giant  "in  Guildhall,"  i,  60,  n.  3. 

Branford,  scene  at  (New  Haven,  1916),  ii,  275. 

Braytoft,  Richard,  i,  153. 

Bread  Street  (London),  i,  169  f.;  —  Ward  of,  ii,  92. 

Bread  tossed  to  the  crowd,  (Boston,  1912),  ii,  248. 

Bredenstone,  the  (Dover,  1908),  ii,  220. 

Bremmius  (Bristol,  1486),  i,  79  and  n.  i;  i,  158, 
n.  3;  i,  160. 

Bremo,  in  "  Mucedorus,"  i,  76. 

Brennus,  founder  of  Bristol,  i,  79,  n.  i. 

Brewers'  trade-car  of  the  (Ripon,  1886),  ii, 
i59f.;  —  records  of  the,  show  the  first  water- 
procession  [in  1422]  ii,  6;  —  trade-pageantry  of 
the,  (St.  Louis  1847),  ii,  238  f. 

Bribery  (London  1559),  i,  201. 

Bride-ale  at  Kenilworth  (1575),  i,  208. 

Bridewell,  model  of,  in  the  1907  Show,  ii,  134. 

Bridge  Gate  (London),  i,  241,  n.  3. 

Bridge  Street  (London),  ii,  108;  ii,  114. 

Bristol,  Bremmius  at,  i,  79,  and  n.  i;  i,  158,  n.  3; 
i,  1 60;  —  Corpus  Christi  at,  i,  21;  —  Christmas 
mumming  prohibited  at,  i,  104;  —  Edward  IV 
at  (1461),  i,  151  f.; — Elizabeth  at  (1574),  i, 
206  f.; — guilds  at,  [Corpus  Christi],  i,  21  ff.; 
—Henry  VII  at  (1486),  i,  160. 

Bristol  personified  (1574),  i,  81;  i,  206;  —  (Lon 
don,  1631),  ii,  75. 

Britain  (London,  1904,  1910),  ii,  75,  n.  6.  See  also 
Britannia. 


"Britain,  Isle  of,"  (London,  1606),  i,  228,  n.  i. 

"Britain's  Mount,"  the  principal  pageant  in  the 
1605  Show,  ii,  28. 

Britain's  power  symbolized,  i,  258. 

Britannia  (Knutsford,  1913),  ii,  153; — (Lichfield, 
1911),  ii,  152;  — (Liverpool,  1907),  ii,  163;  — 
personified,  (London,  Lord  Mayor's  Shows)  i, 
82,  n.  2;  —  (London,  1605),  ii,  28;  ii,  75;  — 
(London,  1628),  ii,  39;  —  (London,  1850),  ii, 
115;  ii,  116;  —  (London,  1904),  ii,  130;  — 
(London,  1905),  ii,  75,  n.  6;  ii,  131;  —  (London, 
1910),  ii,  189;  —  (London  1911),  ii,  225;  — 
(London  1919),  ii,  141. 

Britannia  pictured  at  Belfast  (1914)  ii  181;  — on 
a  transparency  (London,  1814),  ii,  162. 

"Britannia's  Muster"  of  1910,  ii,  188  f. 

"Britannia's  Watch  Tower"  (1628)   ii,  39. 

Britannica  (London,  1604),  i,  223;  ii,  75. 

British  Isles,  the,  on  Guy  Fawkes's  Day  at  Hamp- 
stead,  i,  10; — Naval  and  Military  Veterans 
(Boston,  1912),  ii,  245;  —  Navy,  rise  and  pro 
gress  of,  shown  by  cars  (1902),  ii,  129;  —  in  the 
New  York  Pageant  of  1918,  ii,  252;  —  Princes 
(Edinburgh,  1832),  ii,  165;  —  soldiers  on  the 
streets  of  New  York,  ii,  242,  n.  3. 

British  Soldiers  (Norristown,  1912),  ii,  249. 

Briton,  an  ancient,  in  the  York  Pageant,  ii,  209. 

Britons,  ancient,  in  Guy  Fawkes's  pageantry  at 
Folkestone,  i,  10;  —  discover  the  Colchester 
Oyster,  ii,  218;  —  Early,  captured  by  Romans 
(1914),  ii,  189;  — (London,  1783),  ii,  98;  — 
"wild-men"  representing  (Ripon,  1886),  ii,  160. 

Broad  Gate,  the  (Coventry),  i,  170. 

Broad  Street  (London),  ii,  37. 

"Bronck's  treaty  with  the  Indians,"  (New  York 
1909),  ii,  243. 

Brontes  (London,  1685),  ii,  63. 

Brookline,  "The  Pageant  of  the  Year"  at,  ii,  284. 

Brooklyn,  mumming  at,  ii,  158. 

"Brother  Copas,"  mention  of  a  pageant  in,  ii,  204. 

Brown,  Alderman,  i,  175. 

Brown,  the  Rev.  Arthur  (Boston,  1910),  ii,  267. 

Brown,  F.  C.,  on  "City  Poet,"  ii,  69  f.;  ii,  70, 
n.  2. 

Brown,  Miss  M.  L.,  on  the  "Victory  Pageant" 
given  at  the  Rhode  Island  Normal  School,  ii, 
288,  n.  i. 

Brown,  Sir  Richard,  Mayor  of  London  (1660),  ii, 
48,  n.  i. 

Browne,  Walter,  provides  porters  for  the  1566 
Show,  ii,  20. 

Brownshank,  Thomas,  paid  by  the  Ironmongers 
(iS34),  i,  4i,  n.  i. 

Bruce,  David  (Hertford,  1914),  ii,  224,  n.  7. 

Bruce  (Aberdeen,  1511),  i,  575  *>  795  i,  I7°5  — 
suggests  the  "giant  champion,"  i,  195. 

Bruges,  Charles  V  at  (1515)  i,  76;  i,  172  f.;  — 
Charles  V  at,  with  his  Electors  (1515),  i,  173;  — 
the  Holy  Blood  comes  to,  i,  172;  —  subtleties  at 


354 


INDEX 


(1468),  i,  83;  —  wedding  of  the  Duke  of  Bur 
gundy  at  (1468),  i,  152. 

Brussels,  the  funeral  car  of  Charles  V  at  (1559),  i, 
195,  n.  i;  — the  giants  of,  i,  55,  n.  2;  — "his 
torical  procession"  at  (1853),  i,  256;  —  Victoria 
and  Albert  at  (1843),  i,  256. 

Brute,  (London  1605),  ii,  28;  — (London,  1783), 
ii,  98. 

Brutus,  i,  58;  i,  78. 

Bubbewith,  Nicholas,  i,  83,  n.  4. 

Bucentaur,  the  (Venice,  1491),  i,  161,  n.  6. 

Bucephalus  (Bruges,  1515),  i,  173. 

Buckhurst,  Lord,  gives  mayor  a  cold  banquet 
(1700),  ii,  68. 

Buckingham,  Duke  of,  his  barge  at  the  reception  of 
Katharine  (1501),  i,  166. 

Buckingham  Palace,  ii,  in,  n.  2. 

Buckle,  Sir  Cuthbert,  no  Show  for  (1503),  ii,  26. 

Buffalo  Bill  (Lichfield,  1893),  ii,  150;  ii,  153. 

Buffoons  in  an  Adrianople  show  (1717),  ii,  87. 

Buffoon,  a,  in  Irish  mummings,  i,  73,  n.  3. 

"Building  the  Guy,"  i,  10,  n.  5. 

Butt,  John  (London,  1908),  ii,  135. 

Bull-Moose,  the,  representing  the  Progressive 
Party  (Boston,  1912),  ii,  255. 

Bulls,  with  the  Golden  Fleece  (London,  1522),  i, 
176;  —  spouting  fire,  (London,  1547)  i,  186. 

Bullen,  Sir  Geoffrey,  ancestor  of  Elizabeth,  ii,  124. 

Bulteel,  John,  describes  a  civic  giant  (1656),  i,  60. 

Bulteel's  "London's  Triumph"  (1656),  ii,  45  f. 

Bungay,  Corpus  Christi  procession  at,  i,  23. 

Bunyan,  John,  "chaplain"  of  Sir  John  Shorter, 
died  the  same  year,  ii,  63,  n.  7. 

Burbage,  Mr.,  paid  for  his  part  in  the  1610  water- 
triumph,  i,  231. 

Burgavenny,  Lord,  in  charge  of  the  banquet  for 
Katherine  (1501),  i,  166,  n.  6. 

Burgesses  summoned  for  Parliament  of  1295  (Ripon, 
1886),  ii,  161. 

Burghley,  Lord,  receives  letter  from  Fleetwood,  ii, 
21. 

Burghers  and  tournaments,  i,  92. 

Burghs  of  Scotland  (Edinburgh,  1908),  ii,  214. 

Burgomaster  (Philadelphia,  1882),  ii,  240. 

Burgundy,  Duke  of,  marries  English  princess  at 
Bruges  (1468),  i,  152. 

Burney,  Fanny  (London,  1914),  ii,  *47,  n-  2- 

Burnham  Beeches  purchased  by  the  Corporation, 

ii,  120. 

Burning,  the,  of  an  effigy  at  Llantwit,  i,  56,  n.  3;— 
of  effigies,  i,  10;  i,  16;  i,  51,  n.  2;  ii,  178  f.,  and 
see  Boston  and  London;  —  Guy  Fawkes,  i,  10, 
n.  5;  ii,  179;  —  of  religio-political  effigies  (Lon 
don,  1680),  ii,  173;  —  of  the  Deadly  Sins,  i,  229; 
—  of  pageantic  images,  i,  241. 

Burke,  Edmund,  invited  to  the  dinner  of  1790,  ii, 
101. 


Burr,  Aaron  (Marietta,  1888),  ii,  258. 

Bury  St.  Edmunds,  Corpus  Christi  at,  i,  23;  — 


Henry  VI  at  (1433),  i,  *47; —  tournament  at 
(1348),  i,  94;  —  Pageant,  the  (1907),  i,  211,  n.  2; 
ii,  219;  ii,  221,  n.  3;  ii,  224,  n.  7;  — Pageant, 
the,  profits  of,  ii,  206. 

Butchers,  records  of,  show  no  barge  used  in  1592,  ii, 
26;  —  with  sacrificial  ox  (London,  1783),  ii,  99. 

Butt  shooting  at  Eglinton  (1839),  ii,  184. 

"By  Gog  and  Magog,"  i,  61,  and  n.  i. 

Bynning,  Walter,  painter,  paid  for  pageantry  at 
Edinburgh  (1558)  i,  194. 

Byrd,  Mr.,  pays  part  of  charges  for  Chester  ele 
phant,  i,  45,  n.  5. 

Byzantine  Architecture  (Cambridge,  1911),  ii,  287. 

Cadillac,  night  pageant  at,  ii,  249,  n.  4. 

Cador  of  Little  Britain  (London,  1522),  i,  177. 

Cadwar  of  South  Wales  (London,  1522),  i,  177. 

Caerlud  —  see  Caier  Lud. 

Cadmon  (Oxford,  1914),  ii,  203,  n.  i. 

Cizsar  (Coventry,  1456),  i,  150;  (London,  1621), 
ii,  73;  ii,  79,  n.  5;  (London,  1904),  ii,  130; 
(Naples,  1443),  i,  147,  n.  2;  (Paris,  1431),  i,  138, 
n.  4;  (Reggio,  1453),  i,  148,  n.  4;  (Stuttgart, 
1609),  i,  99;  and  see  Nine  Worthies. 

Caier  Lud,  i,  58,  n.  2;  i,  78,  n.  i. 

Cain,  father  of  giants,  i,  53  and  n.  4. 

Cakes  —  see  "subtleties." 

Calcos  (London,  1618),  ii,  38. 

Caledonia  (Edinburgh,  1633),  i,  236. 

"Caliban,"  a  "community  masque,"  i,  xx;  ii, 
289!.,  and  n.  2. 

Calidore,  Sir  (London,  1908),  ii,  138. 

California,  a  recurrence  of  the  masque-type  in,  ii, 
286. 

Callahan,  Mr.,  paid  for  "Men  in  Armor"  (1825), 
ii,  109. 

Calleva  (Sil Chester),  scene  in  the  English  Church 
Pageant  laid  at,  ii,  200. 

"  Callithumpian "  processions  in  Canada,  ii,  252. 

Calthrop,  Martin,  Mayor  of  London  (1588),  ii,  25. 

Calumet  dance,  the,  performed  at  Quebec  (1908), 
ii,  263. 

Calumny  (London,  1612),  ii,  32. 

Cambal,  Sir  (London,  1908),  ii,  135. 

Cambria  (London,  1605),  i,  82,  n.  2;  ii,  28;  ii,  75. 

Cambridge,  Duke  and  Duchess  of,  decline  invita 
tion  to  be  present  at  the  Eglinton  tournament, 
ii,  183. 

Cambridge,  Duke  of  (Lichfield,  1893),  ii,  150. 

Cambridge,  Elizabeth  at  (1564),  i,  203. 

Cambridge,  England,  scene  at,  in  the  Boston  "fes 
tival"  of  1897,  ii,  260. 

Cambridge,  May-day  doll  at,  i,  70. 

"Cambridge,  the  March  to,  1775"  (New  Haven, 
1916),  ii,  274,  n.  i. 

Cambridge,  "The  Festival  of  the  Seasons,"  at,  ii, 
284. 

Camel  (1556),  ii,  16;  — (1602),  ii,  27;  ii,  72;  — 
from  which  negro  boy  distributes  spices  and 


INDEX 


355 


fruits  in  1672  and  1673  Shows,  ii,  53;  —  (Chester, 
1910),  ii,  224. 

Camels,  i,  44,  n.  8;  i,  45,  n.  5;  i,  46;  i,  64;  —  (Lon 
don,  1662),  i,  248;  —  in  the  1901  Show,  ii,  129. 

Camels  replace  lions  (1639),  ii,  72. 

Campbell,  Alderman,  on  a  committee  to  view  pag 
eants  (1626),  i,  235. 

Campbell,  James,  Mayor  of  London  (1629),  ii,  41. 

Campbell,  Sir  Thomas,  Mayor  of  London  (1609), 
ii,  30. 

Campion,  Thomas,  writer  of  verses,  i,  218,  n.  6. 

"Campus  Martius,"  origin  of  the  "Bower"  in  a, 
ii,  149. 

Campus  Martius  bell,  the  (Marietta,  1888),  ii, 
258,  n.  3. 

Canada  (Knutsford,  1913),  ii,  153;  —  (Lichfield, 
1911),  ii,  152;  —  (London,  1919),  ii,  141. 

Canada,  callithumpian  processions  in,  ii,  252;  — 
Orange  celebrations  in,  ii,  252. 

Canada  represented  by  a  car  in  "Britannia's  Mus 
ter",  ii,  188;  ii,  189; — represented  by  a  float 
(London,i883),  ii,  122. 

Canadian  Agriculturalist  (1905),  ii,  131. 

Canadian  "tableaux"  (Knutsford,  1913),  ii,  153. 

Canadians  in  the  Boston  procession  of  1912,  ii, 
247. 

Canby,  H.  S.,  on  the  Yale  scenes  presented  in  1901, 
ii,  261  f. 

Cander,  Earl  of  Cornwall  (London,  1522),  i,  177. 

Candlemas,  the  Sunday  before  (1377),  i;  104. 

Cannon,  the  first,  a  model  of  (1907),  ii,  134. 

Cannon  Street  (London),  ii,  115,  n.  2. 

Canonicus  (London,  1679),  ii,  83. 

Canterbury,  Archbishop  of,  in  the  coronation  pro 
cession  of  Anne  Boleyn,  i,  181 ;  —  rents  his  barge 
to  the  Drapers,  ii,  10. 

Canterbury,  Charles  Vat  (1520),!,  174;  —  founded 
by  Rudhudibras,  i,  78,  n.  i;  —  St.  Thomas  at, 
i,  34;  —  scene  near,  in  the  English  Church  Pag 
eant,  ii,  200. 

"Canterbury  Pilgrims,  the,"  at  Gloucester,  ii,  302. 

Canterbury  Pilgrims  (London,  1908),  ii,  135. 

Canute,  King  (Knutsford,  1913),  ii,  153. 

"Cap  of  Maintenance,"  the  ii,  67. 

Cape  Volunteers  in  the  uniform  of  1853  (1895),  ii, 
127. 

Capital  (Boston,  1912),  ii,  255;  —  (Norristown, 
1912),  ii,  250. 

Capitol,  the,  at  Washington,  ii,  255. 

Capper's  subtleties  at  Coventry,  i,  82,  n.  9. 

Captain,  the  (Boston,  1910),  ii,  266,  n.  2;  ii,  267. 

Captain  Slasher,  in  the  Christmas  mumming  pliys, 
i,  7,  n.  i. 

Captured  guns  stimulate  recruiting  in  1915,  ii, 
140  f. 

Car,  i,  xix;  — at  Guy  Fawkes  celebration,  i,  10;  — 
of  Bacchus  at  Vevey,  ii,  147,  n.  4; — of  Brewers' 
Guild  (Ripon,  1886),  ii,  159;  —  of  Europe  (Ant 
werp,  1803),  i,  255;  —  of  Justice  (London,  1853), 


i,  256;  ii,  116,  n.  3;  —  of  Neptune  (Antwerp, 
1803),  i,  254;  —  with  Harvest  group  (Ripon, 
1886),  ii,  161;  —  with  political  significance  (Lon 
don,  1814),  ii,  163;  —  representing  the  Arts 
(1890),  ii,  126;  —  representing  a  barge  (1850), 
ii,  115;  —  representing  the  Colonies  (1890),  ii, 
126;  —  in  the  1907  Show,  ii,  133;  ii,  134;  —  or 
"trolley,"  with  group  showing  duties  of  Boy 
Scouts  (1913),  ii,  138.  See  Cars  and  Float. 

Caractacus  or  Caradoc: 

Caradoc  (Cheltenham,  1008,  Colchester,  1009,  War 
wick,  1906,  York,  1909),  ii,  217,  n.  3. 

Cardiff,  Pageant  of  Wales  at,  ii,  199,  n.  i. 

Cardinal,  a,  represents  Religion  (Norristown, 
191  2),  ii,  250. 

"Cardinal  Norfolk,"  song  by  (1679),  ii,  172. 

"Cardinal,  The,"  a  play  dealing  with  the  past,  ii, 
196,  n.  i. 

Cardinals,  effigies  of  (London,  1681),  ii,  175; 
(London,  1711),  ii,  175,  n.  3. 

Cardinals,  Knights  disguised  as,  i,  92  ;  —  in  a  mum 
ming  (1377),  i,  104;  —  in  a  water-triumph 


Cardinals  of  the  Medici  family  represented  by 
angels  (Avignon,  1600),  i,  220. 

Cardinal  Virtues,  the,  —  see  Virtues. 

Carey,  Henry,  sang  "God  Save  the  King"  (1740), 
ii,  178,  n.  4. 

Carlisle  founded  by  Leil,  i,  78,  n.  i. 

Carnavon,  Investiture  of  the  Prince  of  Wales  at 
(1911),  ii,  227. 

Carnival,  i,  12,  n.  3  ;  excesses  at,  i,  104;  —  at  Rome, 
i,  14,  n.  i;  i,  161,  n.  6;  —  and  pageantry,  ii,  153; 
ii,  159;  ii,  192;  —  elements  of  the,  in  the  Mar- 
blehead  "pageant"  (1912),  ii,  277;  ii,  278,  and 
n.  6;  —  floats  (New  York,  1909),  ii,  243  f.;  ii, 
244,  n.  i;  —  procession  at  Lyons  (1910),  ii,  147, 
n.  4;  —  "raw-material"  of  the  pageant  in  the, 
ii,  295  f.;  —  at  Revere  (1912),  ii,  254;  —  sug 
gested  in  the  1913  "Bower"  of  Lichfield,  ii,  152; 

—  suggested  at  Little  Compton  (1914),  ii,  251; 

—  suggestions  of  the,  in  civic  processions  cele 
brating  anniversaries,  ii,  238,  and  n.  3;  —  tend 
ency  toward  the,  in  the  Veiled  Prophet  proces 
sions,  ii,  254. 

Carnival,  the,  drowned  or  buried,  i,  51,  n.  2. 
Carnivals  with  floats,  i,  xv;  —  in  America,  ii,  252. 
Carnivalistic  suggestions  in  the  Boston  "festival" 

of  1897,  ii,  260,  and  n.  3. 
Carpenters'  expenses  for  1588  visit  of  Elizabeth, 

i,  214,  n.  4. 

Caro,  in  the  "Castle  of  Perseverance,"  i,  no. 
Carpenter,  John,  his  narrative  of  1431  "entry,"  i, 

141,  n.  2. 
Carpenters  of  Dublin  present  the  story  of  Joseph 

and  Mary  (1528),  i,  179. 
Carpenters'  barge,  the  (1455,  1460,  1471),  ii,  8, 

and  n.  3. 
Can,  Philip,  plans  the  1910  Show,  ii,  136. 


356 


INDEX 


Carriage  of  the  1629  pageants  by  land  and  water,  ii, 
40;  —  of  the  1635  pageants  arranged  for,  ii,  42. 

Carrickfergus,  the  landing  of  William  at,  pictured 
at  Belfast  (1914),  ii,  181. 

Carrus  navalis,  i,  12,  n.  3. 

Cars  at  Amsterdam  (1910),  and  Rouen  (1911),  ii, 
163  f.,  —  at  artists'  festival  in  Dusseldorf  (1852), 
ii,  147  ; — in  the  Boston  procession  of  1912,  ii, 
245,  —  in  the  1893  "Bower",  ii,  150; — in 
an  Edinburgh  procession  (1832),  ii,  166;  —  em 
blematic  of  the  City  Markets  (1890),  ii,  125;  — 
emblematical,  in  the  1891  Show,  ii,  126;  —  in 
the  1910  "Tournament,"  ii,  i88f.;  —  in  the 
historical  procession  at  Ripon  in  1886,  ii,  160  f.; 

—  in  the  Hudson-Fulton  Pageant  of  1909,  ii, 
243  f.;  —  introduced  into  the  "Bower,"  ii,  149, 
n.    4; — at    Knutsford    (1913),    ii,    153;  —  in 
the  Liverpool  Pageant  (1907),  ii,  163,  n.  3;  — 
in  the  Lichfield  "Bower"  (1909),  ii,  151;  —  in 
the  New  York  Pageant  of  1918,  ii,  251  f.; — at 
Norristown   (1912),  ii,   249;  —  in  the  Preston 
Guild  of  1902,  ii,  165,  n.  2;  —  in  the  1862  pro 
cession  at  Coventry,  ji,  170,  and  n.  7;  —  in  the 
1892  Show,  ii,  i26f.; —  in  the  1895  Show,  ii, 
127;  —  in  the  1896  Show,  ii,  128;  —  in  the  1901 
Show,  ii,  128;  —  in  the  1902  Show,  ii,  129, — 
in  the  1904  Show,  ii,  130;  —  in  the  1905  Show, 
ii,  131;  —  in  the  1906  Show,  ii,  132;  —  in  the 
St.    Louis    "Veiled    Prophet"    processions,    ii, 
253  f.    See  also  Float. 

Carson,  Sir  Edward,  in  the  1914  Orange  procession 
at  Belfast,  ii,  180. 

Cartier,  Jacques  (Quebec,  1908),  ii,  241;  ii,  263, 
andn.  i. 

Cartismandua  (York,  1909),  ii,  217,  n.  3. 

Casino,  "day-fireworks"  at  the  Newport  (1881), 
ii,  179. 

Cassibelaunus,  brother  of  Lud,  i,  78,  n.  i. 

Castle  Gate,  Dublin,  i,  251. 

"Castle"  the  gift  of  chivalry  to  the  pageant,  i, 
196. 

"Castle,"  a  mechanical  (London,  1522),  i,  177. 

Castle  of  Envy  (London,  1612),  ii,  32. 

"Castle  of  Fame  or  Honour,"  (1617),  ii,  81. 

Castle  (Norwich,  1556),  ii,  16. 

Castle,  a  mimic,  in  an  Oxford  interlude  (1907),  ii, 
223. 

Castle  (Bristol,  1461),  i,  152;  —  (Bruges,  1468),  i, 
152;  —  (London,  1415),  i,  132,  n.  4;  i,  134,  and 
n.  5; —  (London,  1421),  i,  138,  —  [with  genea 
logical  tree]  (London,  1432),  i,  146;  —  with 
St.  George  at  a  court  disguising  (London, 
1494),  i,  112;  —  [at  a  wedding  masque]  (London, 
1501),  i,  1 13  f.;  — (London,  1522),  i,  177;  — 
(London,  1533),  i,  182;  —  in  a  Midsummer  Show 
(London,  1534),  i,  41; — of  Mars  (London,  1635), 
ii,  42 ;  —  with  Kings  (London,  1661),  i,  243,  n.  i ; 

—  (London,   1913),  i,   128,  n.  3;  —  at  Valen 
ciennes  (1330),  i,  85;  i,  94;  — (York,  1486),!, 


159,  and  n.  3;  — of  Swansea  reproduced  (Swan 
sea,  1881),  i,  257;  —  ("une  ville  sur  un  charriot, 
avec  sept  tours  et  cresteaux")  (Lille,  1438),  i, 
75,  n.  4;  —  attacked  with  flowers  (1581),  i,  214; 

—  in  chess,  i,  67;   i,  68,  and  n.  i;  —  in  a  pag- 
eantic  forest  (1511)  i,  115;  —  in  the  1613  Show, 
ii,  33,  n.  2;  —  in  the  1913  Show,  ii,  138. 

Castle  of  Beauty  in  a  tilt  (1581),  i,  213. 

Castle  of  Care,  in  "Piers  Plowman,"  i,  80;  i,  no; 

—  of  cloth  of  gold  in  a  Hatfield  House  disguising 
(1556),  i,  198;  —  of  gold  (Paris,  1431),  i,  140; — 
of  Goldsmiths'  Company  (London,  1377),  i,  80; 
i,   128  f.;  —  of  Goldsmiths'  (London,  1382),  i, 
129;  —  of  Lady  Peace  in  a  1572  masque,  i,  117; 
i,  205,  n.  i;  —  of  Pallas  at  the  coronation  of 
Henry  VIII,  i,  96  f. 

"Castle  of  Perseverance,  The,"  i,  no. 

Castle,  Turkish,  in  a  pageantic  water-fight  (Lon 
don,  1610),  i,  232;  —  of  the  Virgin,  in  the  " Chas- 
teau  d'Amour,"  i,  80,  n.  2. 

Castle  Street,  Dublin,  i,  251. 

Castle  Bailey  Street  (Swansea),  i,  257. 

Castles  (Bruges,  1515),  i,  173;  —  (Munich,  1662), 
i,  118;  —  source  of,  in  pageantry  and  the  masque, 
i,  xix;  i,  85;  i,  no.  See  also  fort. 

Castles  on  conduits  in  "royal-entries,"  i,  195. 

Castles  with  moral-allegorical  significance,  i,  no. 

Castlereagh  Presbyterian  Church  pictured  at  Bel 
fast  (1914),  ii,  181. 

Catalans  (Naples,  1443),  i,  147,  n.  2. 

Cateaton  Street  (London),  ii,  43. 

Cater  and  "his  children"  play  and  sing  in  a  pag 
eant  (1534),  i,  41,  n.  i. 

Catherine  —  see  Katherine. 

Catherine  of  Valois,  subtleties  with  scriptures  at 
coronation  of  (1421),  i,  82. 

Catholicity  of  the  pageant,  i,  165. 

Catholics,  Roman,  enmity  against,  ii,  171  f. 

Catworth,  Thomas,  Sheriff,  ii,  7. 

Cavalcades,  i,  13,  n.  i. 

"Cavalcade"  of  1688,  ii,  64;  —  of  1700,  ii,  68;  — 
of  1703,  ii,  69,  n.  3. 

Cavalier  costumes  in  the  1914  "Bower,"  ii,  152. 

Cavaliers  (Lichfield,  1893),  ii,  150;  —  (Taunton, 
1911),  ii,  269. 

Cave,  Goodman,  paid  for  setting  the  pageant  in 
the  Ironmongers'  hall,  ii,  21. 

Cave  Dweller,  the  (Boston,  1910),  ii,  266. 

Cawsome  House,  Anne  received  at  (1613),  i,  209, 
n.6. 

Canton,  William  (London,  1902),  ii,  129;  —  (Lon 
don,  1908),  ii,  135. 

"Cayuga  Indian  Feast,  the,"  of  1914,  ii,  283. 

Celebration  of  the  past  in  the  Orange  processions, 
ii,  i8of.;  —  combined  with  a  declaration  of 
duty  for  the  future,  ii,  180,  n.  3;  —  of  the  Pil 
grim  Tercentenary  at  Sulgrave  Manor,  ii,  276. 

Cellier,  Mrs.  (London,  1680),  ii,  173,  and  n.  i. 

Celtic  gods  (Edinburgh,  1908),  ii,  214. 


INDEX 


357 


Celtic  influence  on  French  romances,  i,  52; — 
period,  the,  in  "The  Masque  of  Learning,"  ii, 
227. 

"Centaur,  the"  (St.  Louis,  1878),  ii,  253,  n.  2. 

Centaurs  (Munich,  1662),  i,  118;  —  (Stuttgart, 
i6i7),i,  2.34. 

Centennial  Hall  (Marietta),  ii,  258,  n.  2. 

Ceremonies  of  1653,  ii,  43,  —  renewal  of  old, 
(1912),  ii,  227,  n.  3. 

Ceremony  of  1643,  u'>  43;  —  of  Crossing  the  Line, 
ii,  157,  and  notes  2  and  3. 

Ceres  (Bisham,  1592),  i,  217;  —  comedy  of  (Dub 
lin,  1528),  i,  179;  —  (Dublin,  1665),  i,  251;  — 
(Edinburgh,  1594),  i,  218;  —  (London,  1604),  i, 
225,  n.  i;  —  (London,  1661),  i,  246;  —  (New 
York,  1909),  ii,  244,  n.  i ,  —  in  a  1427  mumming, 
i,  107;  —  with  the  Bakers  (London,  1783),  ii,  99; 

—  on  a  transparency  (1814),  ii,  162. 

"Ceres,  Festival  of  "  (St.  Louis,  1878),  ii,  253,  and 
n.  2. 

Cervantes  (Boston,  1908),  ii,  282. 

Chalons-sur  Marne,  cavalcades  at,  in  connection 
with  the  Feast  of  Fools,  i,  13,  n.  i. 

Chamberlain,  Mr.  (Lichfield,  1893),  ii,  150. 

Chambers,  E.  K.,  on  civic  pageantry  and  origin  of 
the  Lord  Mayor's  Show,  ii,  iof.; — on  Lyd- 
gate's  part  in  the  development  of  the  masque,  i, 
106  f . ;  —  on  mumming,  disguising,  and  inter 
lude,  i,  105;  i,  106;  —  on  Plough  Monday,  i,  ii; 

—  on  St.  George  Day  ridings,  i,  25;  —  on  source 
of  pageantic  allegory,  i,   109,  and  n.  i ;  —  on 
"subtleties"  of  1416,  i,  82,  and  n.  4;  —  on  the 
origin  of  the  Godiva  procession,  ii,  166,  n.  2. 

Champion,  Sir  Richard  (London,  1623),  ii,  78. 
"Champion"  (Edinburgh,  1832),  ii,  165,  and  n.  5; 

ii,   166;  —  (Knutsford,  1914),  ii,  154;  —  (Lon 
don,  1432),  i,  143,  and  n.  6;  —  (London,  1591), 

ii,  26. 

Champion,  "man  in  armor"  considered  as,  i,  48. 
Champions  of  Truth  and  Error  suggest  chivalry 

joined  to  morality,  ii,  33,  and  n.  3. 
Champions  of  Christendom  (London,  1681),  ii,  82, 

and  n.  7. 
de  Champlain,  Samuel  (Quebec,  1908),  ii,  241,  n.  5; 

ii,  263. 
Champlain's  landing  reproduced  at  St.  John  (1904), 

ii,  241. 

Chancery  Lane,  (London),  i,  117. 
Chandlers'  play  of  Angels  and  Shepherds  (York, 

1909),  ii,  218  f. 
Chandos,  Lord,  Elizabeth's  host  at  Sudeley  (1592), 

i,  217,  n.  2. 

Change,  the  (London)  —  see  Exchange. 
Changes  in  Lord  Mayor's  Show  received  with 

favor  (1850),  ii,  115,  and  n.  i. 
Characteristics  of  the  "modern  pageant,"  ch.  viii, 

§3  (ii,  202  f.). 
Characterization  in  the  older  and  more  modern 

pageantry,  ii,  212  f.; — in  interlude,  morality- 


play,  and  drama,  ii,  213; — of  rivers  in  the 
Gloucestershire  Pageant,  ii,  216  f. 

Characters  on  ship  at  Malines  (1825),  i,  12,  n.  3. 

"Chariot  of  Fame"  (1622),  ii,  79; — of  Honour 
(London,  1621),  ii,  73;  ii,  79,  n.  5;  (1626),  ii,  78, 
n.  4;  (1700),  ii,  80,  and  n.  7; — of  Industry 
(1684),  ii,  61;  —  of  Justice,  or  "Honour,"  of 
1698  and  1708,  ii,  65,  n.  3;  —  painted  on  glass 
(1753)  preserved  at  York,  ii,  65,  n.  3;  —  of  Time 
(1660),  ii,  77. 

Charities,  Three  (London,  1604),  i,  224. 

Charity  (Brussels,  1559),  i,  195,  n.  i;  —  (London, 
1501),  i,  168;  —  (London,  1547),  i,  186;  —  (Lon 
don,  1591),  ii,  26;  —  (London,  1623),  ii,  78;  — 
(London,  1662),  i,  248;  —  [or  Love]  (Norristown, 
1912),  ii,  250;  —  (Ripon,  1886),  ii,  161 ;  — 
(Washington,  1913),  ii,  285;  —  on  a  banner  (St. 
Louis,  1847),  ii,  238;  —  the  aim  of  some  modern 
pageants,  ii,  206,  n.  2;  ii,  207,  and  n.  i;  — pag 
eantry  used  to  raise  money  for,  ii,  228,  and  notes 
i  and  3. 

Charlemagne  (Avignon,  1600),  i,  220;  —  (Coventry, 
1456),  i,  150;  —  (London,  1522),  i,  79;  i,  176;  — 
(Paris,  1431),  i,  138,  n.  4;  —  one  of  the  Worthies, 

i,  195- 

Charles  I  made  Prince  of  Wales  (1616),  i,  233  f.;  — 
visits  Madrid  (1623),  i,  99;  —  returns  from  Spain 
(1623),  i,  234;  —  wife  of,  received  (1626),  i,  235; 

—  at  Edinburgh  (1633),  i,  236  f.;  —  at  Guildhall 
(1641),  i,  239;  —  at  London  (1641),  i,  238  f.;  — 
welcome  planned  for   (1625),  stopped  by  the 
plague,  i,  234. 

Charles  I  (Lichfield,  1893),  ii,  150;  —  painted  (Lon 
don,  1661),  i  245;  —  statue  of  (London,  1661), 
i,  243,  n.  i. 

Charles  II  at  Edinburgh  (1650),  i,  239;  —  in  Hol 
land  (1660),  i,  241;  —  at  London  (1660),  i,  241  f.; 
(1661),  i,  243  f.;  (1679),  i,  251;  — and  the 
mayoralty,  ii,  59;  ii,  60;  —  and  Sir  Robert 
Vyner,  ii,  54;  —  appoints  a  mayor  (1683),  ii, 
61; — watches  water-procession  of  1683,  ii,  61, 
n.  i. 

Charles  II  painted  (London,  1661),  i,  245;  —  statue 
of  (London,  1661),  i,  243,  n.  i. 

Charles  V  at  Bruges  (1515),  i,  76;  i,  172  f.;  i,  173; 

—  at  Canterbury  (1520),  i,   174;  —  at   Dover 
(1520),  i,  174; — masquerade  given  by  Henry 
VIII  for,  (1522),  i,  121;  —  preparations  for  Lon 
don  visit  of,  i,  39;  i,  174  f.;  —  his  visit  to  London 
(1522),  i,  40;  1,79;  i,  97;  i,  175  f.;  — sees  pag 
eantic  representation  of  himself  (London,  1522), 

i,  795  i,  177;  i,  178. 

Charles  V  (London,  1522),  i,  177;  i,  178;  —  pic 
tured  (Paris,  1498),  i,  163;  i,  164;  —  (Win 
chester,  1908),  ii,  225. 

Charles  VI  masked  as  a  "wild-man  "  (1393),  i,  73, 
n.  5;  i,  102,  n.  3. 

Charles  VII  received  at  Paris  (1437),  i,  141,  n.  i. 

Charles  DC  at  Paris  (1571),  i,  204. 


358 


INDEX 


Charles,  Duke  of  Orleans  pictured  (Paris,  1498),  i, 

163  f. 
Charles,  Duke  of  Valois,  pictured  (Paris,  1498),  i, 

164. 

Charles  M artel  (Avignon,  1600),  i,  220. 
Charles,   Palatine  of  the  Rhine,   at  Heidelberg 

(1672),  i,  251. 
Charleton,  Dr.,  physician  to  Charles  II,  i,  243, 

n.  i. 

Charlie  Chaplin  in  Brooklyn  mumming,  ii,  158. 
Charter  returned  (1688),  ii,  64;  —  the  City's  first, 

in  fac-simile  (1884),  ii,  123. 
Charterhouse,  The  Masque  of  (1911),  ii,  227;   ii, 

272,  n.  4. 
"Chase,"  a,  for  "drolls"  and  trade-figures  (1676), 

ii,  84,  n.  6. 

Chase,  the,  in  the  1889  Show,  ii,  124. 
"Chasteau  d' Amour"  of  Grosseteste,  i,  80. 
Chastity  in  a  masque  at  Norwich  (1578)  i,  211;  — 
(London,  1613),  ii,  34. 
Chatelet,  i,  140;  i,  163. 
Chatham,  Earl  of  (London,  1889),  ii,  125. 
Chaucer,  Geoffrey  (London,  1907),  ii,  134;  —  with 

the  Canterbury  Pilgrims  (London,  1908),  ii,  135. 
Chaurand,  A.,  on  a  bit  of  Red  Cross  symbolism,  ii, 

300. 

Chauvenci,  tournaments  at,  i,  88. 
Cheap,  Ward  of,  ii,  92. 
Cheapside,  i,  38;  i,  90;  i,  91;  i,  95;   i,  126,  n.  i; 

i,  128;  i,  129;  i,  132,  n.  4;  i,  134;  i,  146;  i,  148; 

i,  154,  n.  2;  i,  160;  i,  165;  i,  167,  and  n.  6;  i,  169; 

i,  170;  i,  173;  i,  175;  i,  177;  i,  178;  i,  182;  i, 

183;  i,  186;  i,  188;  i,  189;  i,  192;  i,  193;  i,  201; 

i,  225;  i,  227;  i,  228,  notes  i  and  4;  ii,  22;  ii,  32; 

ii,  345  ii,  475  ii,  48;  ii,  495  ii,  Si;  ii,  555  ",  58; 

ii,  77;  ii,  88;  ii,  90;  ii,  91;  ii,  96;  ii,  in,  n.  2; 

ii,  114;  ii,  115,  n.  2. 
Checkley,  the  Rev.  Samuel,  his  "Diary",  ii,  176, 

n.  i. 

Cheke,  Sir  John  (London,  1907),  ii,  134. 
Chelsea,  i,  231;  i,  233;  i,  248,  i,  249. 
Chelsea  Pageant,  the  (1908).  i,  218,  n.  i;  ii,  215; 

ii,  222,  n.  2;  ii,  224,  n.  7. 
Chelt,  the,  in  the  Gloucestershire  Pageant  (1908), 

ii,  75,  n.  7;ii,  216  f. 
Cheltenham,  Gloucestershire  Pageant  at,  ii,  199; 

ii,  216  f.;  — Jack  at,  i,  70. 
Chenonceau,  triumphs  at  (1559),  i,  202. 
Cherwell  (London,  1661),  i,  245. 
Cheshire  "Champion"  (Knutsford,  1914),  ii,  154. 
Chess,  the  castle  in,  i,  67;  i,  68,  and  n.  i. 
Chester,  Thomas,  tells  of  burghers  at  a  tourna 
ment,  i,  92;  —  Mayor  of  London  (1560),  ii,  17; 

—  forbids  "open  shows,"  i,  203,  n.  3. 

Chester  (Chester,  1610),  i,  82,  n.  2;  i,  230;  ii,  75; 

ii,  215. 
Chester,  animals  at,  i,  44  ff.;  i,  64;  —  elephant  and 

castle  at,  i,  45,  n.  5;  i,  46;  —  giants  at,  i,  57,  n.  2; 

—  unnamed  giants  in  Midsummer  Shows  at,  i, 


45;  —  unnamed  giants  at  (1661),  i,  57,  n.  2;  — 
God  and  the  doctors  at,  i,  43  ff.;  i,  44,  n.  2;  i,  78; 

—  hobby-horses  at,  i,  44;  i,  45,  and  n.  5;  —  Jack 
at  (1908),  i,  70;  —  "man  in  armor"  at,  i,  44;  i, 
47 ;  —  Midsummer  Shows  at,  i,  43  ff . ; —  mys 
tery  plays  at,  i,  57,  n.  3. 

Chester  Pageant,  the  (1910),  ii,  215;  ii,  224. 

Chester,  Prince  Arthur  at  (1497),  i,  162;  —  Prince 
Henry  at  (1610),  i,  229  f.;  —  St.  George's  Day 
at,  i,  25,  n.  3;  —  St.  George  at,  i,  32. 

Chester  Whitsun  plays,  i,  20,  n.  3. 

Chester  (Pennsylvania),  Penn's  landing  repro 
duced  at,  (1882),  ii,  239. 

"Chestre  Launfal,"  interest  of  burghers  in  tourna 
ments,  shown  in,  i,  92. 

Chevalier  Vert,  Earl  of  Warwick  as,  i,  75,  n.  3. 

Chicago,  "the  Pageant  of  the  Italian  Renaissance" 
at,  ii,  283. 

Chichester,  Elizabeth  at  (1591),  i,  216. 

Chichley,  Robert  (London,  1783),  ii,  100. 

Child,  H.  H.,  on  origin  of  disguise  in  folk-dances, 
i,  5;  —  on  origin  of  May-games,  i,  7. 

Child,  our,  in  Chester  Midsummer  Show,  i,  44,  and 
n.  2. 

Children  (Peterborough,  1910),  ii,  264. 

Children  of  Israel  (Coventry,  1474)  i,  153. 

Children  in  Antwerp  pageant  (1803),  i,  254,  and 
n.  5;  —  in  the  Boston  procession  of  1912,  ii, 
246  f.;  —  in  Chester  Midsummer  Shows,  i,  44 
and  notes;  i,  45,  n.  5;  —  in  the  Coventry  Godiva 
procession,  ii,  168,  n.  2;  ii,  170;  —  in  Grimston 
revels,  ii,  159;  —  in  the  Hudson-Fulton  Pageant, 
ii,  243;  —  in  the  Keene  Pageant  (1913)  ii,  271; 

—  receive  Anne  near  St.  Paul's  School  (London, 
1533),  i,  184;  — in  the  1556  Show,  ii,  16;  — in 
the  1 5  59  "en  try,  "i,  200  ff.;  —  in  the  1561  Show 
ii,  18;  —  in  the  1566  Show,  ii,  20;  —  in  the  1585 
Show,  ii,  24;  —  in  the  1591  Show,  ii,  26; — in 
the  1604 "entry," i,  224  f.;  —  in  the  1605  Show, 
ii,  28;  —  in  the  1609  Show,  ii,  30;  —  in  the  1611 
Show,  ii,  31 ;  —  in  the  1629  Show,  ii,  40;  ii,  41 ;  — 
in  the  1635  Show,  ii,  42;  —  in  the  1914  "Bower" 
of  Lichfield,  ii,  152;  —  in  the  1914  May-day 
festival  at  Knutsford,  ii,  154,  and  notes  2  and  4; 

—  in  a  Metz  pageant  (1604),  i,  226;  —  in  Nor 
wich  pageantry  (1578),  i,  211;  —  in  a  wedding 
masque  at  Rouen  (1558),  i,  98;  —  in  a  Sandwich 
trade-pageant  (1573),  i,  206;  —  in  the  Sherborne 
Pageant,  ii,   211;  —  in  a  Stuttgart  pageantic 
cavalcade  (1617),  i,  234;  —  and  mumming,  ii, 
148;  ii,  158  f.;  —  and  Maypole  (Chester,  1910), 
ii,  224;  —  escort  Penn  through  Chester  (1882),  ii, 
239;  —  in  the  Washington  Masque,  ii,  285  f. 

"Children  Through  the  Centuries"  (1914),  ii,  228, 

n.  3. 
Children,  school,  in  the  Lawrence  Pageant,  ii,  269, 

n.  i. 
"Children's  Lore"  (St.  Louis,  1888),  ii,  253,  and 

n.  5. 


INDEX 


359 


Children's  parades  at  Little  Compton  (1914  and 

1015),  ii,  250  f. 
"Children's  Playground,  a"   (Boston,   1912),  ii, 

247. 
"Children's  scenes"  (Boston,  1897),  ii,  261,  and 

n.  3. 
Children's    Union,    Waifs    and    Strays    Society, 

"festival"  given  in  connection  with,  ii,  228,  n.  3; 

—  Welfare  Festival,  the,  of  1914,  ii,  228. 
China  represented  in  a  political  pageant   (New 

York,  1912),  ii,  255. 
Chinaman,  a  (Lichfield,  1893),  ii,  150. 
Chinese  chessmen,  the  "rook"  in,  i,  68,  n.  i;  — 

in  the  Boston  procession  of  1912,  ii,  247;  —  in 

the  New  York  Pageant  of  1918,  ii,  252;  —  puppet 

attendants  for  the  dead,  i,  50,  n.  4. 
Chiualers  de  la  Forrest  saluigne,  i,  116. 
Chivalric  pageants  in  France,  i,  85;  i,  88;  i,  94  ff.; 

—  allegory  combined  with  religious,  i,  80. 
Chivalry,  i,  xvii  —  gifts  of,  to  the  pageant,  i,  196; 

—  and  morality  combined  (1612),  ii,  32,  and 
n.  3 ;  —  and  trade  united,  i,  48,  and  n.  i ;  — 
represented  by  Knight,  Lady,  and  Page  (Boston, 
1908),  ii,  283;  — skeleton  of,  in  the  pageant,  ii, 
104. 

Chiverton,  Richard,  Mayor  of  London  (1657),  ii, 

47; 

Choir,  the  Dramatic,  in  the  Sherborne  Pageant,  ii, 
211. 

Chorus,  a,  in  the  St.  Louis  Pageant,  ii,  273,  n.  2;  — • 
the  Narrative,  in  the  Sherborne  Pageant,  ii,  211, 
and  n.  i ;  —  in  the  Gloucestershire  Pageant,  ii, 
216,  n.  i;  —  at  Potter  Heigham  (1907),  ii,  229. 

Chouteau,  Pierre  (St.  Louis,  1914),  ii,  273,  n.  2. 

Chouteau,  Pierre,  in  the  St.  Louis  procession  of 
1847,  ii,  237,  and  n.  3. 

Christ,  i,  44,  n.  2;  i,  80,  n.  2. 

Christchurch  gate  (Norwich),  ii,  12. 

"Christe  in  Stringes"  at  Chester,  i,  45. 

Christian  of  Anhalt  at  the  civic  show  (1610),  ii,  30. 

Christian  IV  at  London,  (1606)  i,  227. 

Christian  ecclesiastical  feasts  fixed  on  pagan  festi 
vals,  i,  3  ff. 

Christian  Knights  in  a  tilt  with  Turks  and  Ama 
zons  (1594),  i,  218,  n.  7. 

Christians  vs.  Saracens  in  military  exercises  (1638), 
i,  238. 

Christmas,  Gerard,  i,  135,  n.  3;  —  and  the  1626 
pageants,  i,  235;  —  artificer,  ii,  40,  and  n.  2; 
ii,  41;  —  and  Dekker  collaborate  (1629),  ii,  40. 

Christmas,  John,  artificer,  ii,  40;  ii,  42,  and  n.  5;  — 
and  Thomas  Heywood  get  the  1635  contract,  ii, 
42. 

Christmas,  Mathias,  associated  with  John  (1635), 
ii,  42,  n.  5. 

Christmas,  celebrated  by  the  Court  at  Wells  (1332), 
i,  127;  —  masque  of,  at  Edinburgh  (1908),  ii, 
223;  —  and  Kalends  celebrations,  i,  101;  —  a 
Court,  i,  102;  —  mummers,  i,  4;  —  mumming  in 


Wales,  i,  17 ;  —  play,  i,  7,  n.  i ;  i,  10,  n.  i ;  —  and 
Roman  Saturnalia,  i,  13. 

Christ's  Hospital,  senior  scholar  of,  addresses 
Victoria  (1837),  ii,  uof.;  —  represented  in  the 
1907  Show,  ii,  134. 

Chronicle-history,  element  of,  in  the  1884  Show, 
ii,  123; — and  morality-play,  ii,  232;  —  and 
morality-play  elements  kept  apart  at  St.  Louis, 
ii,  273;  —  and  "mythical-founder,"  i,  158,  and 
n.  2;  — and  Parkerian  pageant  compared,  i,  196. 

Chronicle-play,  the  pageant  a  modern,  ii,  218  f. 

Chronicle-plays,  passages  from  the  old,  in  modern 
pageants,  ii,  218  f. 

Chrusos  (London,  1618),  ii,  38. 

Chubb,  P.,  responsible,  indirectly,  for  the  Boston 
Normal  School  Pageant,  ii,  281,  n.  2. 

Church,  the,  represented  in  a  Burgundian  festival 
(i4S3),  i,  67,  n.  i ;  —  (Paris,  1498),  i,  164;  —  per 
sonified  by  a  Prelate  (London,  1501),  i,  1 68,  and 
n.  3 ;  —  the  Early  (Edinburgh,  1908),  ii,  214. 

Church,  the,  modification  of  folk-custom  by,  i,  3 ;  — 
"giants"  at  London,  i,  57,  n.  2;  —  "images"  at 
London,  i,  57,  n.  2;  —  processions,  animals  in, 
i,  64;  —  Schools,  origin  of  the  Knutsford  pro 
cession  in  the,  ii,  154,  n.  4;  —  sharing  folk-cus 
tom,  i,  16. 

Churchill,  Lord  Randolph  (Lichfield,  1893),  ii,  150. 

Churchyard,  Thomas,  planned  devices  for  Eliza 
beth's  entertainment  (Norwich,  1578),  i,  211. 

Chylderly,  John,  churchwarden,  (1535)  i,  57,  n.  2. 

Chyne,  Nicholas,  haberdasher,  i,  189,  n.  i 

Cicely,  a  character  in  the  Revesby  sword-play,  i, 

10,  n.  i. 

Cicero  (London,  1432),  i,  79;  i,  145;  —  represent 
ing  Government  (1676),  ii,  79,  n.  2. 
Cicropes,  father  of  Albyna,  i,  58,  n.  2. 
Cincinnati,  the  Marietta  Pageant  reproduced  at, 

11,  258,  n.  2;  —  a  Kirmess  at  (1914)  ii,  287. 
Cinderella  (Lichfield,  1893),  ii,  150;  —  (Lichfield, 

1914),  ii,  152;  —  (New  York,  1909),  ii,  244,  n.  i; 
—  (St.  Louis,  1888),  ii,  253,  n.  5. 

Cinque  Ports,  Barons  of  the  (London,  1907),  ii,  133. 

Cinque  Ports,  the,  lesson  concerning  (Dover,  1908), 
ii,  220. 

Cipriani,  painter,  ii,  93,  n.  4. 

Circumspection  (London,  1604),  i,  224,  and  n.  5. 

Circus  group,  a,  at  Little  Compton  (1914),  ii,  251. 

Circus-parade,  the;  why  it  is  not  pageantry,  ii,  252. 

Cities  personified,  i,  17,  n.  6;  i,  82,  n.  2;  ii,  74  f.;  — 
(Avignon,  1600),  i,  220; —7  (Boston,  1910),  ii, 
267;  ii,  268;  —  (London,  1614),  ii,  36;  — in  the 
modern  pageant,  ii,  214  f. 

Citizen,  a,  in  a  1671  "interlude,"  ii,  52. 

Citizens  [temp.  George  III]  (London,  1889),  ii,  125. 

Citizen-mummers  visit  the  king  (1377),  i,  104. 

Citizens  aroused  (1392),  ii,  4  f.;  —  (1425),  ii,  6  f.; 
bid  George  IV  farewell  in  state  (182 2),  i,  255;  — 
receive  sovereigns  at  London  and  in  the  prov 
inces,  chs.  iii,  iv,  and  v,  passim;  —  round-table 


360 


INDEX 


of  the,  at  Paris  (1330),  i,  94;  —  regain  the  king's 
favor  (1392),  i,  130;  —  welcome  Phillip  II  (1554), 
i,  191 ;  —  wives  of  the,  invited  to  Windsor 
tournament,  i,  92. 

Citizens'  Association,  the,  of  South  Boston,  a  float 
provided  by  (Boston,  1912),  ii,  246,  and  n.  5. 

Citizenship,  a  ritual  of,  ii,  290. 

"City  castles,"  the,  referred  to  in  "The  Country 
Captain,"  i,  67,  n.  i. 

City  Guards  of  Coventry  attend  mayor  at  the 
Fair,  ii,  167,  and  n.  2 ;  —  Hall  (Keene),  ii,  271 ;  — 
history  of  the,  emphasized  (1884),  ii,  123;  — 
Hotel  (Coventry),  ii,  169,  n.  4;  —  the,  and  the 
modern  pageant,  ii,  202  f.;  ii,  268;  ii,  295;  — 
Poet,  the,  remarks  on  the  term,  ii,  69  f.;  — 
poets  and  their  employers,  ii,  64,  n.  4;  ii,  65. 

City  (personified)  (Bristol,  1574),  i,  206. 

City  officials  in  garb  of  the  xvii  century  (London, 
1913),  ii,  138. 

Civic  authorities  in  a  tourney  (1360),  i,  95;  — 
dignitaries  in  the  procession  (Ripon,  1886),  ii, 
1 6 1 ;  —  dignitaries  in  the  Coventry  procession  of 
1826,  ii,  167,  and  n.  4;  —  history  joined  to  that 
of  the  nation  in  a  1783  pantomime,  ii,  100;  — 
officials  in  the  1893  "Bower,"  ii,  151 ;  —  officials, 
the,  in  St.  Louis  procession  (1847),  ii,  237;  — 
officials  summoned  to  attend  mayor  on  his 
"ridings"  (1680),  ii,  58;  —  pageant  at  Ripon 
(1886),  ii,  160;  —  pageant  of  1499,  i,  165;  — 
perambulations,  i,  35  ff.;  —  societies  march  at 
Chester  (Pennsylvania),  ii,  239;  —  tournaments 
in  Florence,  i,  99,  n.  i ;  —  triumph  linked  with 
"living  pictures"  of  history,  ii,  101. 

Civil  Government  (London,  1628),  ii,  39. 

Civil  War  (the  American),  scenes  before  the  days 
of  the  (Cincinnati,  1914),  ii,  287;  —  a  scene  from 
the,  at  Keene,  ii,  271;  —  scenes  at  Norristown 
of  the  (1912),  ii,  250; — a  scene  from  the  (Peter 
borough,  1910),  ii,  265;  —  scenes  of  the  (Ply 
mouth,  1896),  ii,  259;  ii,  260;  —  (Providence, 
1919),  ii,  289;  —  return  of  the  soldiers  from  the 
(Taunton,  1911),  ii,  269  f.;  —  scene,  a,  in  the 
Yale  Pageant,  ii,  275. 

Civil  War  (the  English),  the  London  Shows  stop 
during  the,  ii,  43 ;  —  incidents  of  the,  illustrated 
at  Lichfield  (1908),  ii,  151,  n.  3;  —  Parkerian 
pageants  usually  stop  before  the,  ii,  221. 

Civilization  (St.  Johnsbury,  1912),  ii,  270. 

"Civilization,  the  Progress  of"  (St.  Louis,  1879), 
ii,  253,  and  n.  3. 

Clarence,  Duke  of  (London,  1907),  ii,  134. 

Clarendon,  Henry  VII  at  (1496),  i,  162. 

Clariodus,  i,  75,  n.  3. 

Clark,  George  S.,  pictured  at  Belfast  (1914),  ii,  181. 

Clarke,  G.  W.,  organizer  of  the  May-Day  festival 
of  Knutsford,  ii,  153. 

Clark,  J.  C.  L.,  on  the  Warwick  (Massachusetts) 
Pageant,  ii,  279  f.;  —  on  "how  not  to  do  it,"  ii, 
279  f. 


Clark,  Miss  Lotta  A.,  chairman  of  the  Festival 
Committee  of  the  Boston  Normal  School  Pag 
eant  (1908),  ii,  281,  n.  2;  —  director  of  the  "pag 
eant"  (Boston,  1910),  ii,  265,  n.  6. 

Class,  the  merchant,  and  pageantry,  i,  xviii;  ch.  vi. 

Classes,  mixture  of,  in  the  English  pageants,  ii, 
202;  ii,  205,  n.  2. 

Classical  element,  the,  in  the  civic  shows,  ii,  83  f.; 

—  in  French  "feux  d'artifice,"  i,  240 f.;  —  in  a 
London   "entry"    (1432),   i,    145;    i,    147'.— 
mythology    at    Avignon    (1600),    i,    220;  —  at 
Edinburgh  (1503),  i,  169;  —  at  London  (1533), 
i,  183;  —  in  a  Court  masque  (1594),  i,  219;  — 
at  Paris  (1513),  i,  171:  —  at  Paris  (1596),  i,  219; 

—  hi  pageantry,  i,  196. 
Classics,  the  (Boston,  1908),  ii,  282. 
Classification  of  pageantic  shows,  ii,  294  f. 
Claudius,  triumph  of  (Colchester,  1909),  ii,  224, 

n.  7;  —  (London,  1914),  ii,  189. 
Claudius  and  his  Empress,  ii,  189. 
Clayton,  Sir  Robert,  Mayor  of  London  (1679),  ii, 

575  u,  58. 

Clear  Conscience  (London,  1622),  ii,  77. 

Cleere,  Richard,  carver,  has  a  hand  in  the  1662 
"triumph,"  i,  250. 

Clemency  (London,  1432),  i,  146. 

Cleremont,  Earl  of,  injured  in  a  tournament,  i,  87. 

Clergy  attack  the  Godiva  procession  (1845),  ii,  169. 

Clergyman,  a  bogus,  in  the  Pack  Monday  Fair,  ii, 
156,  and  n.  3. 

Clergyman,  a,  represents  Religion  (Norristown, 
1912),  ii,  250. 

"Clermont,"  the,  (New  York  1909),  ii,  164,  n.  j; 
ii,  237,  n.  4;  ii,  242,  and  n.  3. 

Clifton,  Chalmers  D.,  director  of  the  music  (Peter 
borough,  1910),  ii,  265,  n.  i. 

Clinton,  General  (Norristown,  1912),  ii,  249. 

Clive,  Lord  (London,  1911),  ii,  137. 

Clockmakers  in  the  1890  procession,  ii,  125. 

Clopton,  Robert,  sheriff,  ii,  7. 

Close,  the,  (Norwich),  i,  210. 

Cloten,  grandfather  of  Brennius,  i,  79,  n.  i. 

Clothing  of  citizens  and  participants  in  the  "royal- 
entries,"  given  an  allegorical  significance,  i,  143; 
i,  144;  i,  159,  n.  3. 

Clothing  (London,  1614),  ii,  36. 

Clothworkers,  the,  can  useunder-galleryof  Gresham 
College  for  preparing  1662  pageants,  ii,  48,  n.  5; 

—  car  of  the,  in  the  Ripon  procession  (1886),  ii, 
1 60;  —  represented  by  Lanaria  (1684),  ii,  62;  — 
triumphs  (1633),  ii,  41,  n.  6;  —  (1634),  ii,  42. 

Clowes,  the  Miss,  organizers  of  the  Knutsford  festi 
val,  ii,  153. 

Clown  in  the  Christmas  play,  i,  7,  n.  i. 

Club-bearer  with  St.  George  at  Norwich,  i,  73. 

Clughtt,  Christopher,  not  to  ride  the  George  at 
Leicester,  i,  30. 

Coach,  the  first  lord  mayor's,  used  in  1712,  ii,  86;  — 
the  present  city,  built  1757,  ii,  93; — the  mayors', 


INDEX 


361 


drawn  by  six  horses  (1740),  ii,  92;  —  Fund,  the, 
ii,  93;  —  Lord  Mayor's,  the  (1761),  ii,  96;  — 
the  Royal,  ii,  93,  n.  4. 

Coats  of  arms  and  banners  represent  characters  in 
1688,  ii,  64. 

Cceur,  Jacques,  i,  99,  n.  i. 

Coke,  Sir  Thomas,  ancestor  of  Bacon,  ii,  124. 

Colbrant,  a  giant  "in  Guildhall,"  i,  60,  n.  3. 

Colchester  Pageant,  the  (1909),  i,  211,  n.  2;  ii,  214; 
ii,  221,  and  n.  3;  ii,  224,  n.  7;  — Elizabeth  at 
(1578),  i,  211,  n.  2;  —  model  of,  in  the  1914 
"Tournament",  ii,  189;  —  Oyster  discovered 
by  the  Britons,  ii,  218. 

"Cole,  Old  King"  (Colchester,  1909),  ii,  224,  n.  7. 

Colecester,  Castle  of,  inhabited  by  Yoton,  i,  51, 
n-3- 

Cokcestria  (Colchester,  1909),  ii,  214. 

Coleman  Street  (London),  i,  48. 

College  and  community  join  in  giving  a  pageant, 
ii,  274. 

Colleges  to  observe  the  Pilgrim  Tercentenary,  ii, 
276. 

Colne  (London,  1661),  i,  245. 

Cologne,  Isabel  of  England  meets  Frederick  II  at, 
i,  12,  n.  3;  —  merchants  of,  at  London,  i,  180, 
n.  2;  —  ship  at,  i,  12,  n.  3. 

Cologne,  the  three  kings  of,  i,  24,  n.  i. 

Colonial  Dames,  the,  give  a  scene  in  the  Boston 
"festival"  (1897),  u>  261;  —  Days,  scenes  from 
(Cincinnati,  1914),  ii,  287;  —  participation  in 
the  "Royal  Naval  and  Military  Tournament," 
ii,  187  f.;  —  section,  the,  of  the  Hudson-Fulton 
Pageant,  ii,  243. 

Colonies,  the,  group  representing  (London,  1904), 
ii,  130;  —  represented  in  Guy  Fawkes'  Day 
Pageant  at  Hampstead,  i,  10; —  represented 
in  "Britannia's  Muster,"  ii,  188  f.  —  repre 
sented  by  floats  (London,  i883),ii,  122;  —  repre 
sented  by  a  car  (1890),  ii,  126;  —  represented 
on  a  car  (1905),  ii,  131;  —  (London,  1910), 
ii,  75,  n.  6. 

Colonists  (Boston,  1910),  ii,  266;  —  (London, 
1890),  ii,  126. 

Colonna,  Vittoria  (London,  1914),  ii,  147,  n.  2. 

"Columbia,  the  arrival  of  the"  [1790]  (Boston, 
1897),  u',  261. 

Columbia  (Little  Compton,  1914),  ii,  251;  — 
(Washington,  1913),  ii,  285. 

Columbus  Day  celebrated  at  Boston  (1912),  ii, 
245  f. 

"Columbus,  the  Landing  of"  (Boston,  1912),  ii, 
246;  —  (St.  Louis,  1886),  ii,  253,  n.  4;  —  (Taun- 
ton,  1911),  ii,  269;  ii,  270;  —  received  by  Ferdi 
nand  and  Isabella(St.  Louis,  1886),  ii,  253,  n.  4. 

Columbus  and  Bell  linked  with  trade  (Boston, 
191 2),  ii,  247. 

"Columna  Rostrata"  (1904),  ii,  130. 

Combatants  disguised  in  romantic  tournaments, 
i,89. 


Combes,  William,  puts  up  lists  and  scaffolds  for 
jousts  (1442),  i,  96. 

Combination,  a,  of  "woodman"  and  forester  (1663), 
i,  77;  ii,  49. 

Comedy  and  history  combined,  ii,  219  f. 

Commerce,  the,  of  London  in  the  xii  century  (1901), 
ii,i28;  — suggested  by  marine  figures  and  negro, 
from  a  distant  continent  (1685),  ii,  63. 

Commerce  (Edinburgh,  1908),  ii,  214;  —  (London, 
1622),  ii,  75;  —  (London,  1783),  ii,  100;  —  (Lon 
don,  1850),  ii,  115;  ii,  116;  —  (London,  1892), 
ii,  127. 

"Commerce  and  the  Port  of  London"  (1892),  ii, 
127. 

Commercialism,  the  blight  of,  ii,  206  f. 

Common-weal,  Decayed  (London,  1559),  i,  81;  i, 
202;  —  Flourishing  (London,  1559),  i,  81 ;  i,  202. 

Commonwealth  (London,  1590),  ii,  25;  —  the, 
represented  by  Sir  William  Walworth  (London, 
1 590),  ii,  25. 

Commonwealth  of  the  City  (Norwich,  1578),  i,  211; 
ii,  74. 

Community  drama,  the,  i,  xx;  ii,  143;  —  in  the 
United  States,  ch.  ix,  §  2  (ii,  257  f.);  —  and  war, 
ii,  290. 

Community,  the,  and  the  Boston  "festival"  of 
1897,  ii,  261 ;  —  and  college  join  in  giving  a  pag 
eant,  ii,  274;  —  effort  in  the  Little  Compton 
parade,  ii,  250;  ii,  251;  —  interest  aroused  by 
a  street  parade,  ii,  241 ;  —  takes  part  in  the 
Norristown  pageant,  ii,  249,  n.  6;  ii,  250;  — 
masque  discussed  by  Mr.  MacKaye,  ii,  289  f . ;  — 
service  officials  and  the  Pilgrim  Tercentenary, 
ii,  277;  —  and  the  Hollis  Hall  Pageant,  ii,  272;  — 
and  the  modern  pageant,  ii,  202  f. 

Companies,  the,  called  on  to  pay  debt  for  1626 
pageants  (1629),  i,  236,  and  notes  1-3;  —  re 
ceive  General  Monk  (1660),  ii,  57,  n.  i;  —  march 
in  the  1862  procession  at  Coventry,  ii,  170;  — 
marching,  in  the  Show  (1910),  ii,  136;  —  order 
of,  on  "ridings"  established  (1515),  ii,  9, — 
pageants  (1761),  ii,  95; — paid  authors  for  the 
shows,  ii,  70,  and  n.  i;  —  and  pageant-expenses 
(163/3),  ii,  41;  —  personified  (1612),  ii,  32;  — 
personified  by  "armed-men"  (London,  1641),  i, 
238  f.;  —  personified  (1684),  ii,  61;  —  in  the 
1890  procession,  ii,  125;  —  represented  by  livery 
men  (London,  1783),  ii,  99;  — represented  by  a 
twelve-branched  tree  (1628),  ii,  39;  —  repre 
sented  by  their  arms  (1613),  ii,  34;  —  refuse  to 
march  in  the  1682  procession,  ii,  60;  —  stands  of 
the  (c  1740),  ii,  91,  n.  i;  —  symbolically  repre 
sented,  ii,  73  f. 

Competition  among  the  poets,  ii,  70;  —  won  by 
Middleton  over  Dekker  and  Munday  (1617),  ii, 

37- 
Compiegne,  tournament  at,  in  honor  of  Joan  of  Arc, 

ii,  187,  and  n.  i. 
Composers,  busts  of,  in  the  1800  Show,  ii,  126. 


362 


INDEX 


"Comus,"  a  scene  from,  in  the  Gloucestershire 
Pageant,  ii,  216. 

Comus  (London,  1908),  ii,  135. 

Concord  (Edinburgh,  1594),  i,  218;  —  (London, 
1606),  i,  228,  notes  i  and  4;  —  (London,  1661), 
i,  245;  i,  246;  —  (London,  1685),  ii,  63;  —  Tem 
ple  of  (London,  1814),  ii,  162. 

Conduct  (London,  1685),  ii,  63;  —  (London,  1700), 
ii,  80,  n.  7. 

Conduits  flowing  with  wine,  passim. 

Conduit,  the  Great,  in  Cheap,  i,  37,  n.  3 ;  i,"i32,  n.  4; 
i,  134;  i,  146  and  n.  7;  i,  148;  i,  167;  i,  177;  i, 
179;  i,  183;  i,  186;  i,  188;  i,  189;  i,  192;  i,  224, 
n.  5;  i,  227;  i,  241,  n.  3;  i,  242;  i,  245;  —Little 
(in  Cheap),  i,  37;  i,  165;  i,  168,  and  n.  3;  i,  173; 
i,  174;  i,  178;  i,  180;  i,  183;  i,  i86;i,  18951,  201; 
i,  202;  i,  225;  i,  227;  i,  228,  n.  4;  i,  241,  n.  3;  i, 
246;  ii,  32;  ii,  34;  ii,  78;  ii,  79;  —  in  Cornhill, 
i,  132,  n.  4;  1,145;  i,i77;  1,183;  1,185;  i,  188; 
i,  189;  i,  192;  i,  241,  n.  3;  i,  245;  —  in  Fleet 
Street,  i,  184;  i,  187;  i,  189;  i,  184;  i,  202;  i, 
225;  i,  228,  and  n.  4;  i,  241,  n.  3;  i,  242;  i,  246; 
—  at  St.  Paul's  London,  i,  131;  i,  132,  n.  4;  i, 
JSS,  n-  3;  i,  J36;  i,  146;  —  to  be  repainted 
(1559),  i,  199. 

Confections  —  see  "subtlety." 

Confederation  (Paris,  1513),  i,  171. 

Confessors  (London,  1415),  i,  134,  and  n.  3;  (Lon 
don,  1421),  i,  138. 

Confidence,  in  "The  Triumphs  of  Peace"  (1634),  i, 
118. 

Conflict  between  citizens  and  Bishop's  servants, 
ii,  4  f . ;  ii,  6  f . 

Confusion  (London,  1661),  i,  244. 

"Conjunction  of  the  Planets"  (Edinburgh,  1579), 

1,213. 

"Conqueror  of  the  Sea,"  the,  (Little  Compton, 
1914),  ii,  251. 

Constable  of  England,  the,  in  the  Coronation  pro 
cession  of  Anne  Boleyn  (1533),  i,  182; — of 
the  tower,  receives  mayor's  oath  (1392),  ii,  5. 

Constantinople,  King  of,  and  Charlemagne  (London, 
1522),  i,  176. 

Constitution,  ratification  of  the,  celebrated  at 
Boston  (1788),  ii,  236. 

Construction  of  St.  Paul's  necessitates  a  change  in 
landing  (1676),  ii,  55;  —  necessitates  discon 
tinuance  of  the  "riding  to  St.  Paul's,"  ii,  59. 

Consumptives'  Home,  float  furnished  by  the 
(Boston,  1912),  ii,  247. 

Contest,  the,  between  winter  and  summer,  i,  4  f ., 

i,  Si- 

Continental  giants,  i,  55  ff.,  and  n.  2;  —  proces 
sions  of  recent  years,  ii,  163  f . ; — influence  of  the, 
on  civic  shows,  ii,  116; — tournaments  of  modern 
times,  ii,  187. 

Continental  Soldiers  (Norristown,  1912),  ii,  249. 

Continents,  the,  given  trade-symbolism  (London, 
245. 


Continents,  the  Four  (London,  1694),  ii,  75; — the 
Five,  personified  (London,  1919),  ii,  141;  — often 
personified  in  the  civic  shows,  ii,  75. 

Continual  Success  (London,  1533),  i,  183. 

Contrast  between  fire-engines  of  1666,  1852,  and 
1892,  ii,  127;  —  between  ancient  and  modern 
counting-houses,  a  trade-pageant  (Boston,  1912) 
ii,  247 ;  —  between  early  vehicles  and  a  modern 
motor-car  (Boston,  1910),  ii,  267;  —  between 
fire-engines  old  and  new  (Boston,  1912),  ii, 
247 ;  —  between  Indian  canoe  and  ocean  liner 
(New  York,  1909),  ii,  243;  —  between  the 
"pioneer  boat"  and  the  steamer  of  1847,  ii> 
237 ;  —  between  stage-coach  and  motor-car,  ii, 
128;  ii,  129;  —  between  Town  Crier  and  news 
boys  (Boston,  1910),  ii,  267;  —  (Boston,  1912), 
ii,  245 ;  —  between  wigwam  and  sky-scraper 
(New  York,  1909),  ii,  243; — between  past  and 
present  emphasized  at  Boston  (1910),  ii,  266;  ii, 
267. 

Contemporary  European  history  echoed  at  Boston 
in  1912,  ii,  247. 

Contributions  for  1626  pageants  levied  in  1629,  i, 
236,  and  notes  1-3. 

Contributors  to  the  "Times"  on  the  Eglinton 
tournament,  ii,  183. 

Conventional  phraseology  in  the  shows,  ii,  64,  n.  4. 

Conye,  Thomas,  witnesses  gift  of  pageant  to 
"commonalty"  of  Norwich,  ii,  12. 

Conyeux  [Conyng,  Coney]  Street,  at  York,  i,  159, 
and  n.  i. 

Cooke,  Mr.  W.,  of  Astley's  Amphitheatre,  helps 
arrange  the  1853  Show,  ii,  116;  ii,  117. 

Cooke,  the  Rev.  Dr.,  pictured  at  Belfast  (1914), 
ii,  181. 

Cooke,  Sir  Anthony  (London,  1907),  ii,  134. 

Cook,  Sir  Thomas  (London,  1783),  ii,  100. 

Cooper,  Admiral,  receives  a  pageantic  Penn  (Phila 
delphia,  1882),  ii,  240. 

Coopers'  expenses  for  the  1588  visit  of  Elizabeth, 
i,  214,  n.  4;  —  trade-pageant  of  the  (St.  Louis, 
1847),  ii,  239. 

"Copley's  Studio,"  a  scene  at  (Boston,  1897),  ii, 
261. 

Copy  of  Champlain's  ship  (St.  John,  1904),  ii,  241. 

Cordalle,  a  participant  in,  or  author  of,  a  pageant 
(Norwich,  1556),  ii,  17. 

Cordwainer,  the  ward  of,  ii,  92. 

Cordwainers,  the,  with  Crispin  and  Crispianus  (Lon 
don,  1783),  ii,  99. 

Corinea  (London,  1610),  i,  231. 

Corineus  receives  Cornwall  from  Brutus,  i,  59;  — 
and  Gogmagog  in  history,  i,  58,  n.  2;  i,  59;  — 
in  Geoffrey  of  Monmouth's  history,  i,  59;  i,  78, 
n.  i;  i,  79. 

Corineus  (London  1554),  i,  57,  ».  2;  i,  57,  n.  3;  i, 
58  f.;  i,  60;  i,  191;  i,  195;  — (London,  1559), 
i,  202;  —  (London  1605),  ii,  28;  —  ii,  281;  ii, 
297. 


INDEX 


363 


Corinth  personified  at  Alexandria,  i,  17,  n.  6;  i,  81, 
n.  7. 

Corisca  (London,  1684),  ii,  62. 

Cornhill,  i,  37;  i,  132,  n.  4;  i,  134;  i,  145;  i,  160; 
i,  165;  i,  167,  and  n.  5;  i,  169;  i,  173;  i,  1775  i» 
182;  i,  183;  i,  185;  i,  188;  i,  189;  i,  192;  i,  200; 
i,  245;  ii,  68;  ii,  114;  ii,  178,  n.  4. 

Corn  Market,  (Dublin),  i,  251. 

Cornwall  represented  by  Corinea  (London,  1610), 
i,  231;  ii,  75,  n.  i. 

Cornwall  (London,  1509),  i,  170. 

Cornish  miners  in  the  1906  Show,  ii,  132. 

"  Coronation  of  the  Virgin,  the,  "  at  Aberdeen,  i,  33. 

Coronations  of  recent  sovereigns,  i,  257  f. 

Coronation  year  at  Lichfield  (1911),  ii,  152. 

Corpus  Christi  at  Bungay,  i,  23;  Bury  St.  Ed 
munds,  i,  23;  Coventry,  i,  22  ff.;  Dublin,  i,  22  ff.; 
Edinburgh,  i,  23;  Leicester,  i,  18,  n.  i;  York,  i, 
18,  n.  i ;  —  guilds,  the,  i,  19  ff.;  —  institution  of, 
i,  19;  —  plays  of  Coventry  given  for  Elizabeth, 
(1565),  i,  204,  n.  i; — processions,  i,  18  ff.  - 
ship  in  procession  of,  at  Plymouth,  i,  12,  and 
0.3. 

Corrie,  C.  J.,  introduced  cars  into  the  "Bower," 
ii,  149,  n.  4. 

"Cortez,  Meeting  of,  and  Montezuma"  (St.  Louis, 
1886),  ii,  253,  n.  4. 

Cosimo  de  Medici,  tournaments  of  (1459),  1,99,  n.  i. 

Cosmopolitan  element  in  the  Boston  procession  of 
1912,  ii,  245;  ii,  247. 

Cost,  the,  of  the  Hudson-Fulton  Pageant  (1909), 
ii,  243; — of  mayor's  feast  (c  1575),  ii,  22;  — 
of  a  modern  pageant,  ii,  206,  and  n.  2;  ii,  234;  — 
of  the  Warwick  (Massachusetts)  Pageant,  ii, 
279.  See  also  Expenses. 

Costumes  of  civic  officials  described,  ii,  66  f. ;  —  of 
earlier  centuries  requested  of  spectators  at  the 
Eglinton  tournament,  ii,  184;  —  in  Mr.  Parker's 
pageants  provided  by  each  actor,  ii,  198,  and 

n.  5- 

Cotton,  Sir  Allen,  Mayor  of  London  (1625),  ii,  38. 
Cotton,  John  (Boston,  1897),  ii,  260. 
"Cotton,  King"  (St.  Louis,  1886),  ii,  253,  n.  4. 
Councell  of  the  City  (London,  1604),  i,  224. 
Council  of  the  City  (London,  1783),  ii,  100. 
Counsel  (London,  1618),  ii,  38. 
Countries  personified  often,  ii,  75;  —  various  repre 
sented  in  the  1853  Show,  ii,  117;  —  in  the  1892 

Show,  ii,  127. 

Country,  the  (London,  1585),  ii,  24;  ii,  75,  n.  8. 
"Country  Captain,  The",  reference  to  Whiffler  in, 

i,  71 ;  —  reference  to  City  Castles  in,  i,  67,  n.  i. 
Country-fellow,  a,  in  a  1634  masque  and  pageant 

("The  Triumph  of  Peace"),  i,  118. 
Countryman  in  the  1671  "interlude,"  ii,  52. 
Courage  (London,  1618),  ii,  38;  —  (London,  1685), 

ii,  63. 
"Court  of  Array"  at  Lichfield,  the,  i,  9;  ii,  149;  — 

of  the  Heroic  Dead,  the  (New  York,  1919),  ii, 


256;  —  of  Learning,  the  (Oxford,  1907),  if, 
223;  —  of  Love,  the,  and  the  1377  castle,  i,  128, 
and  n.  6;  —  influence  of  the,  in  a  masque  with  a 
pageantic  background  (1501),  i,  114;  —  influ 
ence  of  the,  on  the  morality-play,  i,  no. 

Court,  masquerades  at,  i,  85. 

Court  of  Rome  in  the  1914  "Tournament,"  ii,  189. 

Court  of  Spain,  scenes  at  the,  (Cincinnati,  1914),  ii, 
287. 

Courthope,  W.  J.,  on  monastic  and  chivalric  alle 
gory,  i,  1 10. 

Courtiers  (Knutsford,  1913),  ii,  153. 

Courts  moved  back  to  London  (1392),  i,  129;  —  of 
Justice  visited  (1679),  ii,  58,  —  of  Justice, 
mayors'  presentation  at,  the  origin  of  the  civic 
procession,  ii,  3. 

Co  vent- Garden  Theatre,  a  pantomime  of  the  civic 
show  at,  (1783)  ii,  97  f. 

Coventry,  the  arms  of,  i,  68,  n.  2;  —  the  (reputed) 
birthplace  of  St.  George,  ii,  168,  n.  i;  —  Corpus 
Christi  at,  i,  22  f.;  —  Edward  IV  at,  (1461),  i, 
151;  —  Elizabeth  at,  (1565),  i,  204; — Godivaat, 
i,  25,  n.  i;  ii,  166  f.;  ii,  167;  ii,  192;  ii,  197,  n.  2; 
—  guilds  (Trinity,  Corpus  Christi,  St.  Nicholas) 
i,  22  ff.,  and  n.  9;  —  Henry  VIII  and  Katherine 
at  (1511),  i,  170;  —  King  Arthur  welcomes 
Prince  Arthur  to  (1498),  i,  79;  i,  164;  —  Mary 
at  (1525),  i,  179;  —  Margaret  of  An jou  at  (1456), 
i,  149  f. ;  —  Midsummer  Show  at,  i,  46;  —  Mid 
summer  Watch  at,  i,  36;  —  minstrels  at,  i,  49;  — 
mystery  plays  at,  i,  57,  n.  3;  —  Prince  Arthur  at 
(1498),  i,  79;  i,  164  f.;  —  Prince  Edward  at 
(1474),  i,  153  f.;  —  "Shearmen  and  Taylors  pag 
eant,"  the,  at,  i,  20,  n.  3;  —  subtleties  at  (1527), 
i,  82,  n.  9. 

Cowboys  in  Brooklyn  mumming,  ii,  158. 

Cowdray,  Elizabeth  at  (1591),  i,  216. 

Cox,  Richard  [Bishop  of  Ely],  (London,  1907),  ii, 

134- 

"Cozmoz  Neoz"  (London,  1604),  i,  225,  n.  2. 
Crab  in  a  1678  "interlude",  ii,  56. 
Craig,  Anna  T.,  author  of  "An  Dhord  Fhiann,"  ii, 

272,  n.  2. 

Craig,  Gordon,  i,  121. 
Craft-guild  plays,  the,  i,  20. 
"Crane,  Ichabod,  the  Legend  of,"  (New  York, 

1 909),  ii,  243. 

"Cranford"  recalled  at  Knutsford  (1914),  ii,  154. 
Cranmer,  account  of  1533  "entry"  by,  i,  181,  n.2, 

and  n.  3. 
Craven,  Sir  W.,  Mayor  of  London,  (1610)  ii,  30, 

n.  2. 

Craven,  Sir  William  (London,  1889),  ii,  125. 
"Creed  play"  at  York,  the  (1446),  i,  21;  —  (1483), 

i,  155;  i,  156,  and  n.  3. 
"Cressett  lights"  (1518),  i,  173. 
Cressets  in  Corpus  Christi  parades,  i,  22,  n.  7;  — 

in  Midsummer  Watch,  i,  37;  i,  38,  n.  5;  i,  41,  and 

n.  i;  i,  42,  and  n.  2. 


INDEX 


Cresset-bearers  of  the  Midsummer  Show,  i,  72. 
de  Crevecaeur,  St.  John  (St.  Johnsbury,  1912),  ii, 

270. 
Cricketers  (Knutsford,  1913),  »>  *54- 

Cripplegate  grounds,  ii,  45;  —  within,  Ward  of,  ii, 
92. 

Crimea,  veterans  of,  in  the  1800  Show,  u,  125;  — 
in  the  1906  Show,  ii,  132;  — in  the  1910,  Show, 
ii,i36. 

Crispin  and  George  —  Saint  and  King,  ii,  165,  n.  5. 

Cromwell  [Oliver]  attacked  in  paintings  (London, 
1661),  i,  244;  — at  Guildhall  (1653),  i,  239;  — 
pictured  at  Belfast  (1914),  ii,  181;  —  saluted  by 
the  citizens  (1656),  ii,  46. 

Cromwell,  Oliver  (Lichfield,  1893),  ii,  150;  —  (Lon 
don,  1889),  ii,  124. 

Cromwell  [Thomas]  and  the  king's  minstrels,  i,  180. 

Crosby,  Brass  (London,  1895),  ii,  127. 

Cross,  the,  at  Aberdeen  runs  wine  (1511),  i,  170;  — 
in  Cheapside,  i,  130;  i,  132,  n.  4;  i,  134;  i,  148; 
i,  160;  i,  166,  n.  6;  i,  175;  i,  183;  i,  188;  i,  189; 
i,  190,  and  n.  12;  i,  193;  i,  201;  i,  225;  i,  235; 
i,  242;  ii,  34;  ii,  47;— at  Coventry,  the,  i,  204, 
andn.  i; — "stage  play" at  (1511),  i,  170; — the 
(Edinburgh),  i,  236;  —  the,  at  the  market  place 
of  Hereford,  i,  159. 

Crosschepyng  (Coventry),  i,  153;  i,  154;  i,  164; 
i,  179. 

Crossing  the  Line,  the  ceremony  of,  i,  9  f.;  ii,  157, 
andn.  2. 

Crouched  Friars  (London),  i,  244. 

Crowd  at  Lord  Mayor's  Show,  reference  to  descrip 
tions  of,  by  Jordan  and  Ward,  ii,  57. 

Crown  Bearer,  the,  in  early  Knutsford  processions, 
ii,  154,  n.  4. 

Crown  of  Thorns  given  to  Charlemagne  (London, 
1522),  i,  176. 

Crowns  given  to  Charles  V  and  Henry  VIII  (Lon 
don,  1522),  i,  176. 

"Crown  and  Rays"  (1832,  1833),  ii,  no. 

"  Cruxifbdon,  the,"  at  Aberdeen,  i,  33;  —  (Bruges, 
1468),  i,  152;  —  (Paris,  1498),  i,  163. 

Cruelty  in  the  guise  of  a  dragon  (Edinburgh,  1908), 
ii,  223. 

Crusader,  small  boy  as,  personates  the  Genius  of 
London  (1913),  ii,  138. 

Cuchulainn  Cycle,  the  (Edinburgh,  1908),  ii,  214. 

Cumberland,  the  Earl  of,  in  a  tilt  (1590),  i,  215. 

Cummings,  W.  H.,  on  "God  Save  the  King,"  ii, 
178,0.4. 

Cunthrope,  William,  to  attend  committee  to  view 
pageants  (1626),  i,  235. 

Cupid  at  Chester,  i,  44,  n.  2;  i,  46,  and  n.  2;  —  at 
Dublin,  i,  23,  n.  3;  —  (Edinburgh,  1579),  i,  213, 
n.  i;  —  (London,  1629),  ii,  72;  —  [or  Apollo] 
(London,  1761),  ii,  95;  —  in  masque  at  Norwich, 
(1578),  i,  211;  —  at  Valenciennes,  (1330),  i,  94. 

Cupids  (London,  1685),  ii,  63;  —  in  a  joust  (Win 
chester,  1908),  ii,  225. 


Cure  loial  (1511),  i,  97;  —  i,  116. 

Currus  Neptuni  in  a  Belgian  triumph,  i,  195,  n.  i. 

"Curtana,"  the,  signifying  mercy,  i,  154;  i,  155, 
and  n.  i;  —  carried  by  Mercy  (London,  1547),  i, 
186. 

Curzon,  the  Viscountess,  chosen  Queen  of  Beauty 
in  1912,  ii,  185,  n.  3. 

Customs  of  early  days  shown  at  Boston  (1897),  ii, 
260;  —  of  the  early  settlers  shown  at  Peter 
borough,  1910,  ii,  264;  —  of  the  early  settlers 
shown  at  Plymouth  (1896),  ii,  259;  ii,  260. 

Cutlers'  crest,  the,  i,  67,  n.  i;  i,  68. 

Cutsatt,  Earl  of  Chester  (London,  1522),  i,  177. 

Cutter  of  Cootsholde,  the,  (Sudeley,  1592),  i,  218. 

Cyclops  (Dublin,  1665),  i,  251;  —  (London,  1618), 
ii,  38;  —  with  the  Blacksmiths  (London,  1783), 
ii,  99;  —  forging  an  alliance  (Antwerp,  1803),  i, 

254- 

Cymbeline,  grandson  of  Lud,  i,  78,  n.  i. 

Cymbeline  (Colchester,  1909),  ii,  217,  n.  3;  —  (Lon 
don,  1914),  ii,  190,  n.  i;  —  (Warwick,  1906),  ii, 
217,  n.  3. 

Czecho-Slovaks  in  the  New  York  Pageant  of  1918, 
ii,  252. 

Dagger  of  St.  Paul,  the,  on  City  shield,  ii,  25,  n.  i. 

Dairymaids  (Chester,  1910),  ii,  224. 

Dalkeith,  George  IV  at  (1822),  i,  255;  i,  256. 

Dallin,  Mrs.  Colonna  M.,  designer  of  the  Boston 
Normal  School  Pageant  (1908),  ii,  281,  n.  2;  — 
on  the  Boston  Normal  School  Pageant  (1908) 
ii,  282,  and  n.  i ;  —  on  the  Lawrence  Pageant  of 
1911,  ii,  269;  ii,  282,  n.  i. 

Dalyngrigge,  Sir  Edward,  made  "Warden"  of  Lon 
don  (1392),  ii,  5. 

Damage  done  by  pageants  repaired  (1662),  i,  247. 

Dame-School  teacher,  the,  (Boston,  1908),  ii,  283. 

Dana,  R.  H.,  on  the  hanging  of  Judas,  ii,  156,  n.  5; 

—  on  the  ceremony  of  Crossing  the  Line,  ii,  157, 
n.  2. 

Dance,  the  folk-play,  and  tournament,  i,  105;  — 
in  the  Boston  Normal  School  Pageant  (1908),  ii, 
282,  and  n.  i;  ii,  283;  —  in  the  Boston  Pageant 
of  1910,  ii,  266;  —  in  a  Cambridge  "pageant," 
ii,  284;  —  of  the  Dyaks  (London,  1897),  ii,  188; 

—  in  the  Duquesne  Masque,  ii,  287;  —  in  the 
Keene  Pageant  (1913),  ii,  271,  and  n.  4;  —  in  the 
Lawrence  Pageant,  ii,  269;  —  in  modern  pag 
eants,  ii,  85;  —  in  the  Peterborough  Pageant,  ii, 
264;  ii,  265;  —  in  the  Quebec  Pageant,  ii,  263 ;  — 
in  the  Rhode  Island  Normal  School  "pageant," 
ii,  288  f.;  —  in  the  Taunton  Pageant,  ii,  269;  — 
in  Vermont  pageants,  ii,  270;  —  in  a  masque  at 
Washington  (1913),  ii,  285  f. 

Dance  (Edinburgh,  1908),  ii,  223. 

Dancers,  infant  hornpipe  (Knutsford,   1913),  ii, 

153;  —  hi  the  Ripon  procession,  ii,  161. 
Dances,  old  time,  hi  the  Boston  "festival"  of  1897, 

ii,  261;  —  and  history  combined  in  a  London 


INDEX 


365 


"festival"  (1914),  ii,  228,  n.  3;  —  Indian,  shown 
on  floats  (New  York,  1909),  ii,  243;  —  in  a 
Marblehead  "pageant,"  ii,  277!.;  —  in  modern 
pageants,  ii,  222  f.;  ii,  224,  n.  7;  —  in  the  Ply 
mouth  "festival"  of  1896,  ii,  259;  ii,  260. 
Dancing  of  animals  to  melody  of  Orpheus  (London, 
1554),  i,  193;  —  in  the  civic  shows,  ii,  84  f.;  — 
in  connection  with  Brooklyn  mumming,  ii,  158; 

—  at  court,  i,  in  f.;  —  of  court  and  folk,  i,  105; 

—  in  country  houses,  i,   in,  n.   7;  —  on  the 
Heath  (Knutsford),  ii,  154,  and  n.  2;  —  mock- 
fighting,  and  speech  combined  in  folk-plays,  i, 
105;  —  in  the  Sherborne  Pageant,  ii,  211. 

Dane,  a  (London,  1617),  ii,  76. 

Danger  at  the  feet  of  Safety  (London,  1604),  i, 

225. 

"Dangerus  Fortrees,  The"  (1511),  i,  116. 
Danish  music  in  honor  of  Anne  (1604),  i,  224;  — 

occupation  of  York,  a  relic  of,  i,  159,  n.  i. 
Dante  (Avignon,  1600),  i,  220;  —  (Boston,  1908), 

ii,  282. 

Danube  (London,  1691,  1701),  ii,  75. 
Darcey,  Henry  (London,  1783),  ii,  99. 
Daphne  (Sudeley,  1592),  i,  218. 
Dartford,  Tournament  at,  (1330),  i,  90. 
"Dartmouth,  on  board  the,"  (Boston,  1897),  ii, 

261. 
Dashwood,  Sir  Samuel,  Mayor  of  London  (1702), 

ii,  153- 

Date,  the,  of  Lord  Mayor's  installation,  ii,  u,  and 
n.  i;ii,  93. 

Daughters  of  the  American  Revolution,  a  chapter 
of,  gives  the  Keene  Pageant,  ii,  271. 

Daughters  of  the  Revolution,  members  of,  give 
a  scene  in  the  Boston  "festival"  of  1897,  ii,  261. 

"Daumont  de  Saint-Lusson  takes  possession  of  the 
West,"  (Quebec,  1908),  ii,  263. 

Dauphin,  the,  weds  Mary,  Queen  of  Scots  (1558), 
i,  98;  i,  194  f. 

Davenant  on  scenery,  i,  120,  n.  2. 

David  (Bruges,  1515),  i.  172;  —  (Coventry,  1456), 
i,  150;  —  (London,  1561),  ii,  18,  and  n.  2;  ii,  19, 
n.  i;  ii,  73,  n.  2;  ii,  82;  —  (London,  1679),  ii, 
83;  — (Paris,  1431),  i,  138,  n.  4;  — (York,  1486), 
i,  159,  and  n.  3; — [in  genealogical  table  (London, 
1432)],  i,  146. 

Davidson,  Charles,  on  Church  processions,  i,  16;  — 
on  Corpus  Christi,  i,  19. 

Davidson,  James,  on  the  Castlewellan  investiga 
tion  (1849),  ii,  180,  n.  i. 

Davies,  Richard,  poet  of  the  Chester  (1610)  Show, 
i,  229,  n.  2. 

Davis,  Evan,  porter,  ii,  18. 

Davol,  R.,  on  processional  pageants,  ii,  236,  n.  4;  — 
on  types  of  standard  pageants,  ii,  292;  —  on  the 
Warwick  (Massachusetts)  Pageant,  ii,  279. 

Davy,  Mayor  of  Norwich,  (1563)  i,  35,  n.  2;  ii,  19. 

Dawn  (Edinburgh,  1908),  ii,  223. 

"Dawn  of  Printing,  The"  (1902),  ii,  129. 


Dawson,  Mr.,  refers  request  for  troops  to  Peel 
(1822),  ii,  107. 

Dawtrey,  Augustin,  author  of  "Robin  Hood  and 
the  Curtal  Friar,"  ii,  161,  n.  2. 

Day  (Edinburgh,  1908),  ii,  2235  —  0  (London, 
1677),  ii,  74;  ii,  191. 

"Day  fireworks"  (Newport,  1881),  ii,  178  f. 

Deacons,  with  St.  Wilfred  (Ripon,  1886),  ii,  160. 

Deadly  Sins,  the,  burned  in  pageantic  fireworks 
(Gravesend,  1606),  i,  229;  —  in  a  Hessian  tilt, 
(1596),  i,  219; — in"The  Castle  of  Perseverance," 
i,  no;  —  represented  by  giants,  in  "Piers  Plow 
man,"  i,  no. 

Dean  of  York  Cathedral,  and  Lord  Halifax  sug 
gest  site  for  the  York  Pageant,  ii,  200. 

Deane,  Richard,  Mayor  of  London,  (1628),  ii,  39. 

Death  (Providence,  1919),  ii,  289;  —  at  a  marriage 
feast  in  Scotland  (1285),  i,  103;  —  or  Winter, 
origin  of  sword-dance  in  the  expulsion  of,  i,  5. 

Debat,  the,  in  the  masque,  i,  in ;  —  in  pageantry, 
i,  184 ;  —  reasons  for  its  lack  of  influence  in  pag 
eantry,  i,  in;  —  suggested  in  the  1684  Show, 
ii,  62;  —  tourney,  masque,  and  pageant-car, 
(1528),  i,  ii6f. 
Debats  d' amour,  i,  80;  —  in  literature,  i,  80. 

Deborah  (London,  1559),  i,  202;  —  (Norwich, 
1578),  i,  82;  i,  211. 

Decay  of  folk-customs,  the,  i,  8  ff. 

Decayed  Commonweal,  the  (London,  1559)  i,  81; 
i,  202. 

"Declaration  of  Independence,  the  signing  of  the  " 
(Marblehead,  1912),  ii,  278. 

Dee,  the,  (Chester,  1910),  ii,  215;  —  (London, 
1616),  i,  233;  i,  234. 

Deepdesire  (Kenilworth,  1575),  i,  209. 

"Defeat  of  the  Danes,"  an  episode  in  the  Sher 
borne  Pageant,  ii,  210. 

Definitions  of  "pageant,"  ii,  291  f.;  —  tentative, 
of  various  terms  made  by  the  American  Pageant 
Association,  ii,  292,  n.  4. 

Deiphille  (Paris,  1431),  i,  138,  n.  4. 

Deiphobus  (Winchester,  1908),  ii,  225. 

Dekker,  Thomas,  collaborates  in  the  1604  "entry," 
i,  222,  and  n.  i ;  i;  225,  and  n.  5;  —  "Troia  Nova 
Triumphans"  by  (1612),  i,  in;  ii,  31  f.;  — 
paid  for  unsuccessful  project,  ii,  37;  — a  satire 
by  (1606),  combines  morality  "spirit"  and  pag 
eant  "technique,"  ii,  35,  n.  4;  —  "Britannia's 
Honor"  by,  (1628),  ii,  39;  —  and  Christmas 
collaborate  (1629),  ii,  40;  —  "London's  Tempe" 
by  (1629),  ii,  40  f.;  —  and  Heming  collaborate 
in  1612,  ii,  31  f. 

Dele,  King  and  Queen  of,  i,  31;  i,  79,  n.  6. 

Demeter  (St.  Louis,  1878),  ii,  253,  n.  2. 

Democracy  (Providence,  1919),  ii,  289. 

Democratic  aspect  of  the  modern  pageant,  ii,  202. 

Democratic  Party,  the,  represented  by  a  Donkey 
(Boston,  1912),  ii,  255. 

Demons  (Edinburgh,  1908),  ii,  214. 


366 


INDEX 


Denham,  William,  i,  41,  notes  i  and  2. 

Denmark,  King  of,  attended  by  the  Companies 
(1768),  ii,  97;  —  prince  of,  sees  the  1662  Show,  ii, 
48. 

Deptford,  Charles  V  received  near,  i,  175; — Kath- 
erine  of  Spain  received  at,  i,  166. 

Derby,  Earl,  at  the  Preston  Guild  (1902),  ii,  165, 
n.  2. 

Deny,  Relief  of,  pictured  at  Belfast  (1914),  ii,  181. 

Descendant  of  Governor  Dudley,  a,  takes  the  part 
of  his  ancestor  (Boston,  1897),  ii,  260,  n.  5. 

Desdemona  (Lichfield,  1909),  ii,  .151. 

Desert,  or  forest,  a  trade-pageant  (1675),  ii,  55. 

Desire  (London,  1612),  ii,  32;  —  and  Hope  in  a 
wedding  masque  (1501),  i,  114;  — foster  children 
of,  in  a  tilt,  (1581),  i,  97j  i,  213  f.;  ii,  273,  n.  3. 

Detractio  (London,  1604),  i,  224,  and  n.  6. 

"Deux  Nethes"  (Antwerp,  1803),  i,  254. 

Development  of  the  dance  to  the  masque,  i,  112. 

Devereux,  Mary,  author  of  "From  Kingdom  to 
Colony,"  ii,  277,  n.  2. 

"Device  called  Londinium"  (1604),  i,  224,  n.  i. 

Devil,  dance  of  the,  and  the  New  England  Con 
science  (Taunton,  1911),  ii,  266,  n.  2,  ii,  269;  — 
the,  in  the  London  civic  shows,  i,  73,  n.  3;  i,  74, 
n.  2;  —  in  the  1553  Show,  ii,  14,  and  n.  4;  —  in 
the  1554  Show,  ii,  15;  —  relation  between  wild- 
man  and,  i,  74;  —  [with  the  Pope]  (London, 
1680),  ii,  173;  —  (London,  1711),  ii,  175,  n.  3;  — 
effigy  of,  at  Boston,  ii,  176;  ii,  177;  —  (Diissel- 
dorf,  1852),  ii,  147. 

Devils  at  Chester,  i,  44;  i,  45;  —  in  the  1832  pro 
cession  at  Edinburgh,  ii,  166,  and  n.  i. 

Devonport,  a  ship  at,  i,  ii,  n.  4;  i,  12. 

Dewey  reception,  the,  of  1899,  compared  with  the 
1919  reception  of  troops,  ii,  256  f. 

Dialogue  in  a  Chester  pageant  (1610),  i,  230,  and 
n.  2;  —  importance  of,  in  the  modern  pageant, 
ii,  218  f.;  —  in  the  modern  pageant,  ii,  211;  ii, 
231  f.;  —  hi  the  Quebec  Pageant,  ii,  263,  and 
notes;  —  in  the  1684  Show,  ii,  62;  —  suggestion 
of  (1604),  i,  225,  n.  4;  — in  1533,  i,  J83,  and 
notes  5  and  6. 

Diamond,  Battle  of  the,  ii,  180. 

Diana  (Avignon,  1600),  i,  220;  —  Knights,  ser 
vants  of,  at  the  coronation  of  Henry  VIII,  i, 
96; — hi  Gascoigne's  masque  (1575),  i,  209,  n. 
i;  —  (London,  1661),  i,  243,  n.  i;  —  (Paris, 
1513),  i,  171;  — park  of,  at  the  coronation  of 
Henry  VIII,  i,  97. 

Dick-fools,  at  Norwich,  i,  28,  n.  3;  i,  71;  i,  74,  n.  2. 

Dickinson,  T.  H.,  on  "futurism"  in  American 
pageants,  ii,  293 ;  —  on  propaganda  in  pageantry, 
ii,  294,  n.  2. 

Didactic  quality  of  Jordanian  "interludes,"  the,  ii, 
76;  — of  shows  grows  weaker  when  speech  dis 
appears,  ii,  78. 

Differentiation  between  "masque"  and  "pageant," 
i,  85;  ii,  288. 


Difficulty  about  getting  soldiers  for  the  1821  Show, 
ii,  105  f. 

Digger,  a,  in  cart,  represents  Australia  (1853),  ii, 
116,  n.  3;  ii,  117. 

Dignity,  "subtlety"  of,  i,  83,  n.  7. 

Diligence  (London,  1677),  ii,  84,  n.  6. 

Dimanche  Grasse,  Madame,  (Lyons,  1627),  i,  77, 
n.  i;  ii,  147,  n.  4. 

Dinner,  cost  of  (1663),  reported  by  Pepys,  ii,  49;  — 
(1664),  reported  by  Evelyn,  ii,  49;  —  the,  of 
1674  described  by  the  "Spectator,"  ii,  54;  — at 
Guildhall  (1700),  ii,  68;  —  at  Guildhall,  cost  of 
the,  (c  1575),  ii,  22;  —  mayor  and  sheriffs  share 
the  cost  of,  ii,  22; — at  mayor's  house  (1665), 
ii,  49. 

Diogenes  (London,  1681),  ii,  83. 

Diotema  (London,  1681),  ii,  83. 

"Director  of  public  celebrations,"  the  (Boston), 
ii,  248,  and  n.  2. 

Discord  in  a  1572  masque,  i,  117;  i,  205,  n.  i. 

Disdain  (London,  1612),  ii,  32. 

Disease  Germs  (Boston,  1910),  ii,  267;  ii,  268. 

Disguise  in  tournaments,  i,  94  ff. 

"Disguises"  at  Court  (mid-fourteenth  century),  i, 
101  f. 

Disguising,  the,  i,  xvii;  i,  8;  —  against  a  back 
ground  of  pageantry  (1494),  i,  112;  —  for 
Charles  V  at  Canterbury  (1520),  i,  174;  —  at 
Hatfield  House  (1556),  i,  198;  —  in  tourna 
ments,  i,  85;  i,  101;  —  the,  ancestor  of  the  mas 
que,  ch.  ii,  §2,  (i,  101  f.);  —  at  court,  temp. 
Henry  VII,  i,  85;  —  and  mumming,  i,  105  f.;  — 
hi  Scotland,  (1285)  i,  103. 

"Disinherited  —  ?  "  a  play-pageant  of  propaganda, 
ii,  230. 

le  Dispenser,  Hugh  (London,  1907),  ii,  134. 

Disscntion  (Bristol,  1574),  i,  206. 

Ditchfield,  P.  H.,  on  Minehead  May  Day,  i,  12;  — 
on  "Pace-egging,"  i,  5;  —  on  "riding  the  Black 
Lad,"i,  16. 

Ditch-side,  the  (London),  ii,  91. 

Divine  Concord  (London,  1606),  i,  228,  n.  4;  — 
Speculation  (London,  1622),  ii,  77;  —  Wisdom 
(London,  1604),  i,  223. 

Divinity  (Edinburgh,  1908),  ii,  214;  —  (Oxford, 
1907),  ii,  223. 

Dixie,  Sir  Wolstone,  Mayor  of  London,  (1585),  ii, 
23;  ii,  25,  n.  2. 

Dixie,  Sir  Wolstone  (London,  1619),  ii,  81,  n.  2. 

Dixon,  Sir  Daniel,  pictured  at  Belfast  (1914),  ii,  181. 

Dock  Street  (Philadelphia),  ii,  240. 

Doctor  of  law,  a  subtlety  of,  i,  83,  n.  4. 

Doctor  of  Laws  (Lichfield,  1909),  ii,  151. 

Doctors  in  Midsummer  Shows  at  Chester,  i,  43  ff., 
and  notes;  i,  78;  —  of  Divinity  and  Medicine 
(Edinburgh,  1908),  ii,  214;  —  of  Music  with  the 
Musicians  (London,  1783),  ii,  99. 

Dolde,  Henry,  furnishes  a  trade-pageant  (St.  Louis, 
1847),  ii,  238. 


INDEX 


367 


Dollard,  Adam  (Quebec,  1908),  ii,  263. 

Dolphin,  the,  of  the  Fishmongers  (1761),  ii,  95;  ii, 
96;  —  a  (Kenilworth,  1575),  i,  69;  i,  2(39,  and 
n.  i;  —  (London,  1610),  i,  230;  i,  231. 

Dolphins,  at  Antwerp,  i,  255;  —  (London,  1612), 
ii,  32;  —  (London,  1661),  ii,  48;  —  (London, 
1662),  i,  250;  —  (London,  1700),  ii,  69. 

Dominicans  (London,  1680),  ii,  173. 

"Dominion  Day"  celebrated  in  Canada,  ii,  252. 

Don  Blass,  effigies  of,  burnt  at  Bath  (1740),  ii,  178, 
n.4. 

"Don  de  Dieu,"  the,  (Quebec,  1908),  ii,  164,  n.  i; 
ii,  237,  n.  4;  ii,  241,  and  n.  5. 

"Doniphan  Expedition,  the"  (St.  Louis,  1914),  ii, 

273- 
Donkey,  the,  representing  the  Democratic  party 

(Boston,  1912),  ii,  255. 

Don  Quixote,  tournaments  in  the  time  of,  i,  99. 
"Doomsday,"  Drapers'  pageant  of  (Coventry),  i, 

204,  n.  i. 

Dorane,  Patrick,  i,  195. 
Dorchester  Historical  Society,  float  of  the,  (Boston, 

1912),  ii,  246. 

Dorinda  (London,  1684),  ii,  62. 
Dorset,  Earl  of,  his  son  entertains  the  mayor 

(i7oo),ii,68. 

Dorsetshire  giant,  i,  51,  n.  3. 
Dorset  Stairs  (London),  ii,  68. 
Douai,  the  giants  of,  i,  55,  n.  2;  —  rehearsals  of  an 

episode  in  the  Dover  Pageant  at,  ii,  205. 
Dave  of  Peace,  the  (Washington,  1913),  ii,  285. 
Doves,   emblems  of  peace,   released   at    Quebec 

(1908),  ii,  263. 
Dover,  Charles  V  at  (1520),  i,  174;  —  Pageant,  the 

(1908),  ii,  218;  ii,  219  f.;  ii,  221,  n.  3;  —  French 

players  in,  ii,  205;  —  the  motto  of  ["Invicta"], 

ii,  218. 

Dover  (Dover,  1908),  ii,  215. 
Dowgate  (London),  i,  174,  n.  6;  ii,  47. 
Downes,  William,  Lord  of  the  manor  of  Earlham, 

i,  210,  n.  3. 

"  Downs  of  Delight  "  (1684),  ii,  62. 
Dragon,  allegorical  significance  given  to  a  (Edin 
burgh,  1908),  ii,  223;  —  (Oxford,  1907),  ii,  223; 

—  and  other  animals  at  Chester  Midsummer 
Show,  i, 44, n.  8;  i,  45,  n.  5;  i,  46,  n.  2;— gilt,  at 
Sandwich,  (1573),  i,  205;  —  Old,  in  the  Christ 
mas  plays,  i,  7,  n.  i;  —  origin  of  the,  i,  24,  n.  2; 

—  a,  representing  Ignorance  (Oxford,  1907),  ii, 
223;  —  of  St.  George,  i,  57,  n.  3;  —  St.  George 
on   a  (1609),  ii,  30;  —  with   St.  George,  in  a 
masque  (Edinburgh,  1908),  ii,  223;  —  w;th  St. 
Margaret  (Antwerp,  1520),  i,  24,  n.  2;  —  Coven 
try,  1456),  i,  150;  —  of  saints'  legend  in  pag 
eantry,  i,  196;  —  spouting  flames  (London,  1487) 
i,  161;  ii,  10,  n.  i;  —  spouting  flames  (Munich, 
1662),  i,   118;  —  spouting  flames  (New  York, 
1909),   ii,    243,   and    n.   4;  —  spouting  flames 
(Warwick,  1572),  i,  205;  —  spouting  fire  (Ches 


ter,  1610),  i,  230;  —  spouting  fire  (London, 
1533),  i,  181;  — a,  (Bristol,  1461),  i,  151;  — at 
Dublin,  i,  22;  i,  23;  —  at  Hertford  (1914),  ii, 
224,  n.  7;  —  at  [Leicester,  i,  30;  —  at  Norwich, 
i,  26-29;  (1537-38),  i,  27,  n.  3;— (Warwick, 
1572), i,i6i,n.4;i,  205;  (Chester,  1910), ii, 224. 

Dragons  of  lead  (London,  1501),  i,  168. 

"Drakar,"  the,  of  Rollo  (Rouen,  1911),  ii,  164. 

Drake,  Nathan,  on  Plough-Monday,  i,  12;  —  on 
New  Year's  mumming,  i,  8. 

"Drake,"  a  "pageant-play,"  ii,  196,  n.  i;  ii,  209; 
ii,  229;  —  resembles  Elizabethan  chronicle- 
history,  ii,  229. 

Drake,  Sir  Francis  (London,  1623),  ii,  78;  —  (Lon 
don,  1626),  ii,  78,  n.  4;  —  (London,  1911),  ii, 
136;  —  and  the  Golden  Fleece  (1626),  ii,  78,  n.  4. 

Drama,  the,  and  characterization,  ii,  213; — in 
fluenced  by  pageantry,  i,  196,  and  n.  2;  —  and 
the  modern  pageant,  ii,  195  f.;  —  the,  repre 
sented  at  Lichfield  (1909),  ii,  151;  —  repre 
sented  at  Lichfield  in  1912,  ii,  152;  —  v.  Sym 
bolism,  ii,  283  f. 

Drama  (Edinburgh,  1908),  ii,  214. 

Dramatic  technique  influenced  by  mechanical  pag 
eants,  i,  178. 

Draper,  Sir  Christopher,  Mayor  of  London  (1566), 
ii,  20;  ii,  25,  n.  2. 

Draper,  Sir  John  Norman  the  first,  to  go  by  water 
to  Westminster,  ii,  7  f. 

Drapers,  the,  accompany  sheriffs  by  water  (1422), 
ii,  6;  —  books  of  the,  mention  water-procession 
(1481),  ii,  8;  — giant  of  the,  i,  40;  i,  56,  n.  3; — 
named  in  1522,  i,  i9S,n.  2;  —  hire  Archepiscopal 
barge  (1533),  ii,  10;  —  pageant  of  the,  at  Coven 
try,  (1565),  i,  204,  and  n.  i;  —  pageant  of  the, 
in  the  1662  "triumph,"  i,  248;  —  pageant  of  the, 
at  London  (1522),  i,  81;  i,  176,  n.  2;  —  record 
the  election  of  Sir  William  Roche  (1540),  ii,  ii; 
—  represented  by  Pannaria  (1684),  ii,  62;  — 
Shows  of  the,  of  1623  and  1626,  ii,  78,  and  n.  4;  — 
trade  of  the,  linked  with  mythology,  ii,  72;  — 
trade-pageants  of  the,  ii,  72;  —  (1621),  ii,  73;  — 
(1623),  ii,  73;  —  (1638),  ii,  72;  —  (1675),  ii,  54  f.; 

—  (1679),",  58. 

Drapers,  the  (London,  1783),  ii,  99. 

Dreams  (Peterborough,  1910),  ii,  264;  ii,  265,  n.  3. 
"drolls,"  or  "antics  "(Dublin,  1665),  i,  251;— of 
the  seventeenth-century  shows,  i,  76,  n.  i;  i,  77; 

—  in  the  1675  Show,  ii,  55;  —  in  the  1676  Show, 
ii,  84,  n.  6;  —  of  the  1677  Show,  ii,  84,  n.  6;  — 
(London,  1684),  ii,  62;  —  connected  with  trade 
(London,    1660),    i,    242;  —  given    trade-com 
plexion,  ii,  72;  —  reflect  trades  of  mayors'  Com 
panies,  ii,  66;  —  dance  and  perform  acrobatic 
tumbling  in  the  shows,  ii,  84;  —  songs  of  the,  ii, 
84;  —  suggested   by  laughter  evoked  in    1853 
personification,   ii,    117;  —  suggested  by  Paris 
"wild-men"  (1431),  i,  139,  n.  5;  —  suggested  in 
the  1663  Show,  ii,  49;  —  of  Watermen  and  Sea- 


368 


INDEX 


men  (London,  1662),  i,  249;  —  and  "wild-men," 
ii,  84,  n.  6;  ii,  85;  —  in  a  "wilderness"  (1672 
and  1673),  ii,  S3- 

Dromceatt,  the,  Convention  of  (New  York,  1913), 
ii,272. 

Dromedaries  at  Chester,  i,  44,  n.  8. 

Druidical  Period,  the  (Ripon,  1886),  ii,  160. 

Druidical  worship  of  Bel,  the,  i,  7. 

Druids'  Order,  the,  in  the  Ripon  procession  (1886), 
ii,  160. 

Druids  (London,  1891),  ii,  126;  —  (Warwick, 
1906),  ii,  217,  n.  3. 

Dublin,  Corpus  Christi  at,  i,  22;  —  Duke  of  Or- 
mond  at  (1665),  i>  251; —  Earl  of  Kildare  at 
(1528),  i,  179  f.; —  Emperor  and  Empress  at, 
i,  3i;  i,  32;  i,  79;  — guild-plays  at,  i,  22;- 
"men  in  armor"  at,  i,  31;  i,  48,  n.  2;  —  peram 
bulation  at,  i,  35  ff.,  and  n.  5;  —  St.  George  at, 
i,  31  f.;  —  tableaux,  i,  23;  —  the  Noble  Order  of 
the  Callithumpians  at,ii,  252,  n.  2. 

Duchess  of  Bedford,  the,  i,  140. 

Dudley,  Sanford  H.,  takes  the  part  of  his  ancestor 
(Boston,  1897),  ii,  260,  n.  5. 

Dudley,  Thomas  (Boston,  1897),  ii,  260,  and  n.  5. 

Dugdale,  William  (Coventry,  1848),  ii,  170,  and 
n.  2;  —  (Coventry,  1862),  ii,  170,  n.  7. 

Duke  of  Lancaster,  pageant  of  the  (London,  1522), 
i,  174;  i,  177. 

Dunbar,  William,  i,  170. 

Dunmow  Flitch  of  Bacon,  the,  i,  9,  and  n.  3 ;  ii,  148. 

Dunstable,  tournament  at,  i,  91. 

Dunwallo,  father  of  Brennius,  i,  79,  n.  i. 

Duquesne,  Professor,  Harvard  masque  in  honor  of 
(1911),  ii,  191,  n.  2;  ii,  287;  ii,  295. 

Durbar,  George  V  at  the,  i,  258. 

Dilrer,  Albrecht  (Hamburg,  1852),  ii,  147,  n.  4. 

Dust  Clouds  (Boston,  1910),  ii,  267;  ii,  268. 

Diisseldorf,  revels  at  (1852),  ii,  147. 

"Dutch  Courtezan,"  reference  to  city  giants  in,  i, 
60,  n.  3. 

Dutch  group,  a  (Boston,  1910),  ii,  267. 

Dutch  (Philadelphia,  1882),  ii,  240. 

Dutchmen,  pageant  of  the  (1604),  i,  224,  n.  4. 

Dutch  peasants,  festivities  of  the  (Plymouth, 
1896),  ii,  259;  ii,  260. 

Dutch  section  in  the  Hudson-Fulton  Pageant,  ii, 

243- 

Dutch  Settlers  (Norristown,  1912),  ii,  249. 
"Dutch  Village,  Burning  of  the"  (St.  Louis,  1886), 

ii,  253,  n.  4. 

Dyaks,  the,  and  their  savage  dance,  ii,  188. 
Dyamond,  Mr.,  a  "tumbler"  in  the  1660  Show,  ii, 

84. 

Dybdynne's  "Lament"  (1830),  ii,  109. 
Dyers,  the,  at  Coventry,  i,  22,  n.  7. 
Dyers  with  Iris  (London,  1783),  ii,  99. 
Dyfnwal,  father  of  Bryn,  i,  79,  n.  i. 
Dyos,  Mr.,  to  send  gratuities  to  court  officials,  i, 

233- 


Eager,  Miss  M.  MacL.,  planner  of  the  Plymouth 
"festival"  of  1896,  ii,  259;  —  director  of  the 
Boston  "festival"  of  1897,  ii,  260. 

Eagle  (London,  1618),  ii,  38;  —  subtlety  of,  i,  84, 
n.  4. 

Ealdhelm  (Sherborne,  1905),  ii,  210;  ii,  218. 

Earle,  Michael,  Mayor  of  Coventry  (1678),  ii,  166, 
n.  4. 

Earlham,  Lord  of  the  Manor  of,  delivers  verses  to 
Elizabeth,  i,  210,  n.  3. 

Early  Inhabitant,  i,  51  ff. ; — regarded  as  gigantic, 
i,  51,  and  n.  3. 

Early  Inhabitants  (Norristown,  1912),  ii,  249. 

Early  inhabitants  considered  gigantic  in  New  Eng 
land,  i,  53. 

Early  Settlers  (Little  Compton,  1914),  ii,  251;  — 
(Peterborough,  1910),  ii,  264;  and  ch.  ix,  passim. 

Earth,  Mother  (Cambridge,  1919),  ii,  284. 

East  Gate  at  Leicester  rented  by  Corpus  Christi 
Guild,  i,  21. 

East  India  Company  alluded  to  (1613),  ii,  33,  n.  2; 
—  founder  of,  hi  the  1895  Show,  ii,  127;  —  sym 
bolized  by  a  sea-lion  (1629),  ii,  72. 

East  India  Volunteers  in  the  1895  Show,  ii,  127. 

East  Port  (Edinburgh),  i,  213. 

Easter,  and  the  Aryan  Spring  Festival,  i,  13 ;  —  and 
the  sacrifice  of  hares,  i,  64,  n.  3. 

Easter  Monday,  i,  16. 

Easter  week,  civic  processions  on  three  days  of, 
(1696),  ii,  66,  n.  3. 

Easterlings,  the,  hi  a  London  civic  welcome,  i,  143; 
— the,  contribute  pageant  in  1553,  i,  188. 

Eastfelde,  Sheriff  (1422),  ii,  5. 

"Eastward  Hoe,"  use  of  pageant  in,  ii,  29. 

Ebedon,  i,  172. 

Ebrancus  (see  Ebraucus),  founder  of  York,  i,  78, 
n.  i. 

Ebraucus  [Ebrauc,  Ebrauk],  i,  78,  n.  i;  i,  158,  and 
notes  i  and  2;  i,  159;  i,  170;  —  a  figure  from 
early  history,  ii,28i. 

Ebrauc  (York,  1009),  ii,  218,  n.  i;  —  and  the  per 
sonified  city,  i,  196;  —  (York,  1486),  i,  78;  —  of 
1486,  a  symbol  of  York,  i,  81. 

Eccentrics  (Scarborough,  1912),  ii,  222,  n.  2. 

Echo  (Kenilworth,  1575),  i,  208. 

Eckhard  (Dusseldorf,  1852),  ii,  147. 

Eckhof,  petit,  the  Antwerp  giant,  i,254,n.4;  1,255. 

Edelfleda,  Queen  (Ripon,  1886),  ii,  160. 

Edinburgh  (Edinburgh,  1908),  ii,  214. 

Edinburgh,  Anne  of  Denmark  received  at  (1590), 
i,  215;  —  Charles  I  at  (1633),  i,  236  f.;  —  Charles 
LI  at  (1650),  i,  239;  —  christening  of  Prince 
Henry  at  (1594),  i,  218  f.;  —  Corpus  Christi  at, 
i,  23;  —  George  IV  at  (1822),  i,  255  f.;  —  James 
I  at  (1617),  i,  234,  and  n.  3; — James  VI  at 
(1579)>i>2i2  f.; — Margaret  of  England  at  (1503), 
i,  81;  i,  i68f.;  —  Mary  of  Guise  at  (1538),  i, 
185;  —  Mary  of  Scotland  received  at  (1561),  i, 
203;  —  perambulation  at,  i,  35;  —  a  "pageantic 


INDEX 


369 


masque"  at  (1912),  ii,  226!.;  —  Pope-burning 
at  (1680),  ii,  174;  —  procession  of  St.  Giles  at, 
i,  16,  n.  6;  —  Scottish  National  Pageant  at,  ii, 
202,  n.  4;  ii,  203,  n.  i;  ii,  207,  and  n.  3;  ii,  214; 

—  trade-procession  at  (1832),  ii,  165  f.;  —  wed 
ding  of  Mary  and  the  Dauphin  at,  i,  194  f. 

"Edinburgh  Masquers,"  the,  ii,  226,  n.  4. 

Editorial  opinion  of  the  Show  in  1913,  ii,  137  f.;  — 
in  1914,  ii,  139  f. 

Edmund,  son  of  Edward  III,  in  a  tourney,  i,  95. 

Education,  development  of,  shown  in  a  "masque," 
ii,  226  f.;  —  history  of,  in  the  "  Masque  of  Learn 
ing,"  ii,  203,  n.  i. 

"Education,  the  Pageant  of"  (Boston,  1908),  ii, 
281  f. 

Educational  appeal  in  pageantry  based  on  accu 
racy,  ii,  281;  —  element,  the,  in  the  Marietta 
Pageant,  ii,  258,  n.  3 ;  —  emphasis  of  the  modern 
pageant  foreshadowed  in  the  1884  Show,  ii,  122; 

—  pageant,  the,  ii,  195;  ii,  232;  —  value  of  the 
pageants  in  the  Boston  procession  of  1912,  ii, 
247;  u',248. 

Educative  force  of  the  modern  pageant,  ii,  201. 
Edward,  the  Black  Prince  (London,  1907),  ii,  134. 
Edward,  the  Black  Prince,  brings  King  John  of 

France  to  London,  i,  127. 
Edward  the  Confessor  (Coventry,  1848),  ii,  170;  — 

(London,  1547),  i,  186;  —  (London,  1628),  ii,  39; 

—  (London,  1907),  ii,  133. — See  also  St.  Ed 
ward. 

Edward,  Prince,  at  Coventry  (1474),  i,  153  f. 
Edward,  first  Prince  of  Wales  (London,  1891),  ii, 

126;  —  (London,  1907),  ii,  133. 
Edward  I  presenting  the  first  Prince  of  Wales  to 

the  chiefs  (London,  1891),  ii,  126. 
Edward  I  (London,  1907),  ii,  133. 
Edward  II  (London,  1907),  ii,  134;  —  (London, 

1908),  ii,  135. 
Edward  II  at  London,  (1308)  i,  125  f.;  —  at  Paris 

(1313),  i,  19,  n.  7. 
"Edward  the  Second  "  provides  a  Warwick  episode, 

ii,  mg;  —  and  part  of  a  scene  in  the  Scarborough 

Pageant,  ii,  219,  n.  3. 
Edward  III  (London,  1554),  i,  193;  —  (London, 

1907),  ii,  134. 
Edward  III  vs.  Mayor  of  London,  in  a  tourney,  i, 

95;  —  narrow  escape  of,  i,  90;  —  tournaments  in 

the  reign  of,  i,  90  ff . 
Edward  IV  and  his  Queen  (London,  1902),  ii,  129; 

—  (London,  1907),  ii,  134. 

Edward  IV  at  Bristol  (1461),  i,  151  f.;  —  at  Lon 
don  and  York,  i,  154. 

Edward  V  (London,  1907),  ii,  134;  —  (London, 
1910),  ii,  136. 

Edward  V  at  London,  i,  154. 

Edward  VI  (English  Church  Pageant  of  1909),  ii, 
200;  —  (London,  1907),  ii,  134;  —  represented 
in  a  pageant  for  that  king,  i,  186;  — a  "Worthy" 
(i554),  i,  80;  i,  191. 


Edward  VI  at  London  (1547),  i,  185  f.;  —  (1549), 

1,187. 
Edward  VII,  curtana  at  coronation  of,  i,  155,  n.  i; 

—  reign  of,  symbolized  by  a  car  (1907),  ii,  134;  — 

at  London  (1902),  i,  257. 
Edward,  son  of  Edward  III,  in  a  tourney,  i,  95. 
Edwards,  Sir  James,  Mayor  of  London  (1678),  ii, 

56,  n.  2;  ii,  58. 

Edwards,  Jonathan  (Boston,  1910),  ii,  266,  n.  2. 
Edwards,  Richard,  his  "Palamon  Arcyte"  played 

before  Elizabeth  at  Oxford,  (1566),  i,  204. 
"Edwards  of  England,  the"  (1907),  ii,  133  f. 
Effigies  at  festivals,  i,  54.;  —  burned  and  flogged, 

i,  10;  i,  16;  i,  51,  n.  2;  i,  56,  n.  3;  i,  229;  i,  241; 

—  burned  on  Guy  Fawkes's  Day,  ii,  179; — burnt 
at  Rye,  i,  10;  —  in  Boston  processions,  ii,  176  f.; 

—  of  noble  men  and  women  (Edinburgh,  1579), 
i,    213;  —  religious   and   political,  i,   16;  —  re 
marks  on,  ii,  178  f.;  ii,  192;  — of  the  supporters 
of  Grocers'  arms  in  the  Shows  of  1672  and  1673, 
u,  53 » —  with  religious  or  political  significance,  ii, 
171. 

Effigy  burned  at  Llantwit,  i,  56,  n.  3;  —  of  the 
Pope  burned  at  Edinburgh  and  London,  ii,  172  f. 

Effigy-burning  in  America  (1917),  i,  51,  n.  2. 

Egedius  Argentein,  i,  75. 

Egfried,  King  (Ripon,  1886),  ii,  161. 

Eglinton,  Lord,  in  the  1839  tournament,  ii,  184. 

Eglinton,  tournament  at  (1839),  ii,  182  f.;  — 
tournament  arouses  more  interest  than  any 
show  since  the  visit  of  George  IV,  ii,  184,  n.  5;  — 
the  tournament  at,  reflected  in  American  tourna 
ments,  ii,  286,  ji.  4. 

Egypt  (London,  1904),  ii,  75,  n.  6;  —  Princess  of 
(Bruges,  1468),  i,  152. 

Egypt,  ancient,  represented  by  a  car  (1904),  ii,  130. 

Egyptian,  an  (London,  1659),  i,  82,  n.  2;  ii,  76.- 

Elder,  Abraham,  deals  with  the  Lord  Mayor's 
Show  in  a  story,  ii,  112. 

Elder,  John,  his  account  of  1554  "entry,"  i,  190, 
n.  12;  i,  191  f. 

Eleanor  of  Provence  at  London  (1236),  i,  124. 

Electro  (London,  1604),  i,  225,  n.  5;  i,  226. 

Elements,  the,  of  the  "royal-entry"  reviewed,  i, 
195  f.;  —  of  pageantry  in  the  masque,  i,  85;  — 
of  the  Coventry  "entry"  of  1456,  i,  150;  —  of 
the  Sherborne  Pageant,  ii,  211 ;  —  of  the  London 
"entry"  of  1415,  i,  136;  —  of  the  London  "en 
try"  of  1432,  i,  147  f.;  —  of  the  pageant,  ch.  i, 
{,3-84; — of  the  Paris  " entry  "  of  1431,  i,  141; — 
of  the  Parkerian  pageant,  ch.  viii,  §  6  (ii,  212  f.); 

—  of  the  "royal-entry"  reviewed,  i,  165  f.;  — 
of  the  xvii  century  shows,  ii,  71  ff. 

Elephant  of  Antwerp,  i,  255. 

Elephant  and  Castle  (Bologna,  1628),  i,  67,  n.  i;  — 
(Bristol,  1486),  i,  160;  —  in  Burgundy  (i4S3)»  i> 
67,  n.  i;  —  at  Chester,  i,  45,  n.  5;  i,  46,  and  n.  2; 

—  at  Coventry,  (1862),  i,  68,  n.  2 ;  —  a  romantic 
element  in  "royal-entries,"  i,  196; — in  medi- 


370 


INDEX 


aeval  representations,  i,  68,  n.  i ;  —  subtlety  of, 
at  Bruges  (1468),  i,  83;  —  i,  66  ff.;  —  at  Chester 
(1910),  ii,  224;  —  (Coventry,  1862),  ii,  170,  and 
n.  5. 

"Elephant  and  Castle"  an  inn-sign,  i,  68,  and  n.  i. 

Elephant  and  castle  in  romances,  i,  66,  and  n.  4;  — 
in  Dickens,  i,  69  and  n.  i ;  —  used  by  Cutlers,  i, 
68. 

Elephant,  the,  representing  the  Republican  Party 
(Boston,  1912),  ii,  255. 

Eleutheriotes  (London,  1605),  ii,  29,  n.  2. 

Elias  (London,  1432),  i,  146. 

Eliot,  John  (Boston,  1897),  ii,  261. 

Elizabeth,  wife  of  Henry  VII  (London,  1559),  i,  200. 

Elizabeth,  Queen  of  Henry  VII,  crowned  (1487), 
i,  160  f.;  —  subtleties  at  coronation  of,  i,  83. 

Elizabeth,  Queen  (Bath,  1909),  ii,  224,  n.  7; — (Chel 
sea,  1908),  ii,  224,  n.  7;  —  (Colchester,  1909),  ii, 
224,  n.  7;  ii,  218,  n.  2;  —  Coventry  (1862),  ii, 
70;  —  (Hertford,  1914),  ii,  224,  n.  7;  —  (London, 
1884),  ii,  123;  —  (London,  1889).  ii,  124;  —  per 
sonified  in  a  pageant  to  greet  Elizabeth  (London, 
1559),  i,  200;  —  personified  with  four  Virtues 
(London,  1559),  i,  200;  —  (London,  1914),  ii, 
228, n. 2. 

Elizabeth  at  Bisham  and  Sudeley  (1592),  i,  217  f.; 

—  at  Bristol  (1574),  i,  206  f.;  —  at  Cambridge, 
(1564),  i,  203;  — at  Coventry,  (1565)  i,  204;  — 
at  Cowdray  and  Elvetham  (1591),  i,  216  f.;  — 
at  Kenilworth  (1575),  i,  69;  i,  207  f.;  —  at  Lon 
don  (1559),  i,   199  f.;  — at  London  (1588),  i, 
2i4f.;  —  at  London  (1591),  i,  214,  n.  4;  —  at 
Norwich  (1578),  i,  210 f.;  —  at  Oxford  (1566), 
i,    204;  —  at   Sandwich   (1573),   i,    205  f;  —  in 
Suffolk,!,  210,  n.  3;  —  at  Warwick  (1572),  i,  205; 

—  at  Westminster   (1597),   and  at  Whitehall 
(1598),  i,  219;  —  at  Worcester  (1575),  i,  210;  — 
goes  to  London  on  Mary's  death,  i,   198;  — 
greeted  by  giants  at  Kenilworth  (1575),  i,  51, 
n.  3 ;  —  influence  of  popular  reception  on,  sug 
gested,  i,  201;  —  jousting  in  honor  of  (1599),  i, 
219;  —  receives  English  Bible  from  Truth  (Lon 
don,  1559),  i,  202;  —  statue  of,  at  Temple  Bar 
(i68i),ii,  175. 

Elizabeth's  learning  renders  her  appreciative  of 
poets'  efforts,  i,  198;  —  progress  through  London 
(1559), i,  1 99 ff.;— provincial  tour,  (1572)^,205; 

—  reply  to  the  Recorder's  address  (1559),  i,  201. 
Elizabeth  Woodville  at  Norwich  (1469),  i,  152  f. 
Elizabethan  gentlemen  (London,  1889),  ii,  124. 
Elizabethan  costumes  in  the  1914  "Bower,"  ii,  152; 

—  dress,  the  "master  of  the  revels"  in  (Ripon, 
1886),  ii,  159,  —  Pageantry,  ch.  iv,  i,  198-222. 

"Elizabethan  Triumph,"  the,  of  I9i2,.ji,  185. 
Elizabethan  Yeomen  (London,  1889),  ii,  124. 
Elliston,  Mr.,  grants  use  of  his  armor  in  1823,  ii, 

108,  —  owner  of  armor  (1822),  ii,  108. 
Elne,  i,  13,  n.  i. 
Elswitha,  Queen  (Ripon,  1886),  ii,  161. 


Eltham,  Hastilude  at,  (1347-48),  i,  93,  n.  4;  — 
Queen  escorted  toward  (1313),  i,  126;  —  tourna 
ment  at  (1342),  i,  91. 

Elves  (Chester,  1910),  ii,  224. 

Elvetham,  Elizabeth  at  (1591),  i,  216  f. 

Elivyn  (Ripon,  1886),  ii,  161. 

Ely  House,  Holborn,  pageantic  masque  starts  at, 
i,  117. 

Emerson  on  the  use  of  history  cited  in  a  Times 
leader,  ii,  138. 

Emery  Auditorium,  the  (Cincinnati),  ii,  287. 

Emperor  [Charles  V],  and  Electors  (Bruges,  1515), 
i,  173;  —  and  Empress  at  Dublin,  i,  31;  i,  32; 

i,  79- 

Emperor  of  the  Russians  representedjm  a  trans 
parency  (1814),  ii,  162. 

Empire  troops  in  the  Show  for  the  first  time  (1914), 

ii,  139- 

Encyclopaedic  age,  the,  in  "The  Masque  of  Learn 
ing,"  ii,  227. 

Everaldus  (London,  1522),  i,  177. 

"Engine"  with  dancers,  i,  4;  i,  112,  n.  7. 

England  (London,  1509),  i,  170;  —  (London,  1604), 
i,  225;  —  (London,  1662),  i,  249;  —  (London, 
1919),  ii,  141;  — (Paris,  1513),  i,  171;  — repre 
sented  by  a  king  (London,  1661),  i,  243,  n.  i;  — 
island  of,  at  the  Stocks  (London,  1522),  i,  177. 

England  —  Charles  V  visits  (1520),  i,  174. 

"England  and  her  Heroes"  (1896),  ii,  128. 

England  represented  by  Britannia  at  Lichfield 
(1911),  ii,  152;  —  Pageant  of,  suggested,  ii,  202, 
n.4. 

English  and  American  pageants  compared,  ii,  232  f. 

English  Church  Pageant,  the  (1909),  ii,  222,  n.  2;  — 
miracle-play  in  the,  ii,  219,  n.  i;  —  scenes  in, 
ii,  200;  ii,  206,  n.  2. 

English  committee  on  the  Pilgrim  Tercentenary 
named,  ii,  276;  —  High  School,  students  of,  give 
scenes  in  the  Boston  "festival"  (1897),  ii,  260; 
ii,  261;  —  Literature,  a  Pageant  of  (Oxford, 
1914),  ii,  203,  n.  i;  —  pageantry,  no  influence 
of,  on  the  Normal  School  Pageant  (Boston,  1908), 
ii,  281,  n.  2. 

English  Settlers  (Norristown,  1912),  ii,  249. 

English-speaking  peoples,  the,  join  to  commemo 
rate  the  voyage  of  the  "Mayflower,"  ii,  276. 

English  sports  in  the  Grimston  revels,  ii,  159. 

"English  villagers  and  their  merry-making"  (Bos 
ton,  1897),  ii,  260. 

Englishman,  a  (London,  1617),  ii,  76. 

Enoch  (London,  1432),  i,  146. 

L'Entente  Cordiale  (Lichfield,  1906),  ii,  151,  n,  3. 

"L'Entente  Cordiale"  in  the  1905  Show,  ii,  131. 

Entertainment,  masque,  and  barriers  distinguished, 
i,  115;  —  and  visor,  i,  103,  and  n.  2. 

"entremets"  like  subtleties,  i,  82  ff. 

Entry  into  Jerusalem,  travesty  on  (1706),  i,  15, 
n.  i. 

"Entry,"  the,  of  1522  discussed,  i,  178  f. 


INDEX 


371 


Envy  (Chester,  1610),  i,  230.  —  (Elvetham,  1591), 
i,  216;  —  (London,  1604),  i,  225;  —  (London, 
1613),  ii,  33;  ii,  34;  —  in  chains,  cruelly  tor 
mented  at  Napoleon's  successes  (Antwerp,  1803), 
i,  2S5;  —  in  Dekker's  1612  Show,  i,  in. 

"Epic  Pageant,"  an,  ii,  283. 

Epicurus  (Edinburgh,  1503),  i,  169. 

Epimelia  (London,  1605),  ii,  29,  n.  2. 

Epiphany  at  Court  (1347,  1348),  i,  102. 

"Episodes"  in  modern  pageants,  ii,  210. 

Epping  Forest  Keepers  in  the  1895  Show,  ii,  127;  — 
in  1879,  ii>  I2°- 

Equal  Suffrage  Association,  the  float  of  the  (Bos 
ton.  1912),  ii,  246. 

Equality  (London,  1622),  ii,  77;  —  (Providence, 
1919),  ii,  289. 

Equator,  ceremonies  of  crossing  the,  i,  9  ff.;  ii,  157, 
and  n.  2. 

Equitas  (London,  1554),  i,  194. 

Erasmus  (Boston,  1908),  ii,  283. 

Erin  (Liverpool,  1907),  ii,  163. 

"Erinnerungsspiele,"  the,  of  Germany,  lie  behind 
the  Parkerian  pageant,  ii,  197 ;  —  given  by  one 
class,  ii,  202,  and  n.  3. 

Ernald  de  Munteinni,  i,  89. 

Eros  (London,  1605),  ii,  29,  n.  2. 

Error  (London,  1613),  i,  in;  ii,  33;  ii,  34;  ii,  35. 

Esculapius  with  the  Apothecaries  (London,  1783), 
ii,  99. 

Essex,  celebration  of  Vernon's  birthday  at  (1740), 
ii,  178,  n.  4;  —  combines  "devices"  and  "tri 
umphs"  with  a  tilt  (1595),  i,  210*. 

Estates,  the  Three  (Paris,  1431),  i,  139;  —  (Paris, 
1498),  i,  164. 

d'Este",  Mary,  displeasure  at  marriage  of  Duke  of 
York  to,  ii,  172. 

Esther  (Norwich,  1578),  i,  82;  i,  211. 

Estridge  (London,  1629),  ii,  40. 

Estridges  (London,  1618),  ii,  38. 

Etgeir,  a  romantic  giant,  i,  53,  n.  3. 

Ethelbald,  the  Death  of  (Sherborne,  1905),  ii,  210. 

Ethelbert,  King  (Hereford,  1486),  i,  159. 

Euclid  (London,  1432),  i,  79;  i,  145. 

"Euclid,  the  Burial  of"  (New  Haven,  1916),  ii, 
274,  n.  i;  ii,  275. 

Eulenspiegel,  Till  (Hamburg,  1852),  ii,  147,  n.  4. 

Euphrosyne  (London,  1533),  i,  183;  —  (London, 
1591),  ii,  26;  —  (London,  1604),  i,  224,  n.  5. 

Europa  (New  York,  1909),  ii,  244,  n.  i. 

Europe  (London,  1657),  ii,  47;  —  (London,  1661), 
i,  245;  —  (London,  1674),  i,  82,  n.  2;  —  (London, 
1850),  ii,  115;  —  (London,  1919),  ii,  141;  — 
(St.  Louis,  1892),  ii,  253,  n.  6. 

European,  a  (London,  1659),  i,  82,  n.  2.  —  ii,  76; 

Eurus  (London,  1661),  i,  246. 

"Evacuation  of  Boston,  the"  (Boston,  1912),  ii, 
246. 

Evangelia  (London,  1679),  ii,  83. 

Evans,  David,  Mayor  of  London  (1891),  ii,  126. 


Evans,  H.  A.,  on  source  of  allegory  in  disguisings,  i, 
109,  and  n.  2;  —  defines  pageant,  i,  119,  n.  2;  — 
on  entertainment,  masque,  and  barriers,  i,  115;  — 
on  the  origin  of  mask,  i,  102,  and  n.  5. 

Eve  (Aberdeen,  1511),  i,  170;  —  (Bruges,  1468),  i, 
152;  —  (Dublin,  1528),  i,  179;  —  at  Preston,  i, 
34,  andn.  7;  i,  78. 

Evelyn,  John,  on  the  1660  Show,  ii,  47  f.;  —  re 
counts  return  of  Charles  II,  i,  241  f.;  —  on  the 
1661  "entry,"  i,  246;  —  on  the  1662  "triumph," 
i,  247;  — on  the  1664  Show,  ii,  49;  on  the  1661 
Show,  ii,  48;  —  on  the  1662  Show,  ii,  48;  - 
on  the  1686  Show,  ii,  63;  —  dines  at  head  table 
(1664),  ii,  49;  —  records  the  Pope-burning  of 
1673,  u'>  !72;  —  his  and  Pepys'  attitude  toward 
the  civic  triumphs,  compared,  ii,  35,  n.  4. 

Everstan  Windmill,  early  industries  represented 
by  the  (Liverpool,  1907),  ii,  163,  n.  2. 

Evrawc,  p.  78,  n.  i. 

Example  (London,  1619),  ii,  81. 

Excess  (London,  1613),  ii,  35. 

Exchange,  the  (London),  i,  61;  i,  224;  i,  235;  i, 
241,  n.  3;  i,  245. 

Exchequer  Bar,  the,  ii,  49. 

Exeter  (London,  1631),  ii,  75. 

Exhibits,  historical  and  artistic,  in  connection  with 
the  Hudson-Fulton  Pageant,  ii,  242. 

Exhibitions  of  soldiers'  duties  at  the  London 
"Royal  Naval  and  Military  Tournament,"  ii, 
187  f. 

"Exmouth,"  boys  of  the,  in  the  1879  Show,  ii,  120; 

—  in  the  1883  Show,  ii,  122. 
Expectation  (London,  1618),  ii,  38. 

Expense  of  banquet  (1727),  ii,  88;  —  of  banquets 
at  the  end  of  the  xviii  century,  ii,  101 ;  —  of 
"knights"  (1847),  ii,  113;  — of  1634  masque, 
i,  118;  —  of  "men  in  armor"  (1815),  ii,  104,  n.  5; 

—  (1821),  ii,  105  f.;  —  (1822),  ii,  107;  —  (1825), 
ii,  109;  — (1833),  »,  109  f.;  — (1839),  ii,  in;  — 
(1848),  ii,  113;  — (1849),  ii,  113,  n.  10;  —  of  the 
1382    pageantry,    i,    129;  —  of   Sir   Laurence 
Aylmer's  pageant  (1516),  i,  39. 

Expenses  of  Carpenters'  (1554),  i,  190,  n.  12;  — of 
Carpenters'  (1606),  i,  227,  n.  i;  —  of  the  1815 
celebration,  ii,  104,  n.  5;  —  of  Chester  Mid 
summer  Shows,  i,  43  ff.,  and  notes;  —  connected 
with  city  coach,  ii,  93,  and  n.  4;  —  of  city  in 
connection  with  1610  water-triumphs,  i,  231 
ff;  —  of  city  for  1626  pageants,  i,  235;  i,  236, 
and  notes  1-3;  of  1822  entertainment,  ii,  107, 
n.  6;  —  of  1823  entertainment,  ii,  108,  n.  3;  — 
of  1825  entertainment,  ii,  109,  n.  5;  —  of  1839 
entertainment,  ii,  in,  n.  6;  —  of  1848  enter 
tainment,  ii,  113,  n.  5;  —  of  1849  entertainment, 
ii,  114,  n.  3;  — of  the  Goldsmiths'  in  1611,  ii,  31; 

—  of  Lord  Mayor's  Day  celebration  of  1794,  ii, 
102;  —  of  Merchant-Taylors  for  All  Saints'  Day 
show  (1605),  ii,  29;  —  for  music  (1821),  ii,  105, 
n.  3;  —  for  1612  pageants,  ii,  32;  —  of  pageantry 


372 


INDEX 


(1630),  ii,  41;  —  of  1822  procession,  ii,  107, 
and  n.  6;  —  of  past  shows  not  all  liquidated 
(1675),  ii,  54;  — of  the  1602  Show,  ii,  27,  n.  4;  — 
of  the  1617  Show,  ii,  37,  and  n.;  ii,  206,  n.  2;  — 
of  the  1629  Show,  ii,  40;  —  of  the  1685  Show,  ii, 
62;  ii,  206,  n.  2;  —  of  the  1689  Show  borne  by 
Skinners,  ii,  64,  n.  5;  —  of  Lord  Mayor's  Shows 
compared  with  cost  of  modern  pageants,  ii,  206, 
n.  2;  —  of  Skinners'  pageants  (1535-36),  i,  38, 
n.  5;  —  of  the  1 6 10  water-triumph,  i,  231;  i,  232. 

Exposition,  history  taught  by  means  of,  ii,  218  f. 

Expository  drama,  a  bit  of,  in  the  1911  "Tourna 
ment,"  ii,  189. 

"Expository  history"  in  1896,  ii,  128. 

Eyre  Arms  Tavern  (London),  ii,  182;  ii,  183. 

Eyre,  Sir  Simon  (London,  1623),  ii,  78;  —  (London, 
1626),  ii,  78,  n.  4. 

Ezra  (Boston,  1910),  ii,  267. 

Fabor,  the  (London),  i,  143. 

"Fabrick  of  Fate"  (London,  1684),  ii,  62. 

"Faery  Queene  Masque,  the"  (Chelsea,  1908),  ii, 

224,  n.  7. 
"Fafner,  the  Death  of"  (New  York,  1909),  ii,  244, 

n.  i. 
Fagan,  J.  B.,  author  of  an  interlude  in  the  Oxford 

Pageant,  ii,  223,  n.  3. 
Fair  at  Coventry  established  temp.  Henry  III,  ii, 

1 66,  n.  4. 
Fairholt,  F.  W.,  on  the  historical  element  in  the 

civic  shows,  ii,  81 ;  — on  the  rise  of  the  merchant 

in  the  Low  Countries,  i,  55;  —  on  Taubman,  ii, 

64,  n.  4. 
Fairies  (Bath,  1909),  ii,  224,  n.  7;  —  (Chester, 

1910),  ii,  224;  —  (New  York,  1909),  ii,  244,  n.  i; 

—  (Taunton,  1911),  ii,  269;  —  at  Valenciennes, 
(1330),  i,  94- 

Fairs  proclaimed  by  mayor  in  state  (1680),  ii,  58. 

Fairy  Queen,  in  a  masque  at  Elvetham  (1591),  i, 
217,  n.  i. 

Fairy-tales  and  history  combined  in  a  children's 
"festival"  (London,  1914),  ii,  228,  and  n.  3;  — 
characters  from  (Little  Compton,  1914),  ii.  251; 

—  (St.  Louis,  1888),  ii,  253,  n.  5. 
Fairlop  Boat  engaged  (1849),  ii,  113. 

Faith  (Brussels,  1559),  i,  195,  n.  i;  —  (Edinburgh, 
1594),  i,  218;  —  (London,  1501),  i,  168;  —  (Lon 
don,  1547),  i,  187;  —  (London,  1591),  ii,  26;  ii, 
77;  —  (London,  1662),  i,  248;  —  (Norristown, 
1912),  ii,  250;  —  (Reggio,  1453),  i,  148,  n.  4. 

Fakke,  a  singer  at  Norwich  (1469),  i,  153. 

Falcon  and  angel  (London,  1533),  i,  182  f.,  and 
n.  6. 

Falconbridge  (London,  1907),  ii,  134. 

Falkirk,  Battle  of,  celebrated  (1298),  i,  124.  See 
also  Fishmongers;  —  "round  table"  (1302), i,  90. 

Falsehood  (London,  1613),  ii,  34. 

Falstaf,  Sir  John  (Coventry,  1848),  ii,  170,  and 
n.  2;  —  (Coventry,  1862),  ii,  170;  —  and  his 


companions  of  the  Boar's  Head  (London,  1910), 
ii,  136. 

Fame  (Bristol,  1574),  i,  206;  —  (Chester,  1610),  i, 
230;  —  (Lichfield,  1909),  ii,  151;  —  (London, 
1590),  ii,  25;  —  (London,  1604),  i,  224,  and  n.  5; 

—  (London,  1605),  ii,  29;  —  (London,  1612),  ii, 
81;  —  (London,  1613),  ii,  34;  —  (London,  1618), 
ii,  38;  —  (London,  1621),  ii,  78,  n.  4;  —  ii,  79; 
(London,  1628),  ii,  39;  —  (London,  1657),  ii,  47; 

—  (London,   1660),  i,   242;  —  (London,   1662), 
i,    248;  —  (London,    1671),   ii,   51;  —  (London, 
1685),  ii,  63; —  (London,  1700),  ii,  80,  n.  7;  — 
(Paris,  1431),  i,  138;   i,  140;   i,  141;  — (Paris, 
1596),    i,    219;—  (Revere,    1912),    ii,    254;  — 
(Stuttgart,  1609),  i,  99; —  "subtlety"  of  (the 
Hague,  1746)  i,  83,  n.  7. 

"Fame,  the  Temple  of,"  on  a  banner  (St.  Louis, 

1847),  ii,  238. 

Famine  (Providence,  1919),  ii,  289. 
"Famous  men  and  women"  in  a  pageantic  ball,  ii, 

147- 
Fancy  in  a  1634  masque  and  pageant,  i,  118;  — 

(London,  1684),  ii,  62. 
Fancy  cakes  at  Paris,  (1431),  i,  83. 
"Farm,  the  Deserted"  (Peterborough,  1910),  ii, 

265. 
Farmer,  Canadian,  (Knutsford,  1913),  ii,  153;  — 

with  his  wife  on  a  pillion  (Ripon,  1886),  ii,  161. 
Farm-laborers  (1890),  ii,  125. 
Farrington  (London,  1611),  ii,  31. 
Farringdon,  Nicholas  [should  be  Sir  John  Gisors, 

Pepperer,  who  was  mayor  hi  February,  1313],  i, 

126,  n.  i. 
Farringdon,  Within,  Ward  of,  ii,  92;  —  Without, 

Ward  of,  ii,  92. 
"Fastyngonge  Tuesday,"  i,  8. 
Father  Christmas,  i,  7,  n.  i;  —  (Edinburgh,  1908), 

ii,  223. 
Father  of  Heaven  (London,  1501),  i,  167;  —  image 

of,  in  gold  (London,  1522),  i,  177. 
"Father  of  Waters,  the"  (St.  Louis,  1892),  ii,  253, 

n.6. 
Faults  of  the  1609  Show  brought  to  Munday's 

attention,  ii,  30. 

Fauns,  in  Christmas  mumming  (1348),  i,  74. 
Faunus  (London,  1663),  i,  77;  —  (London,  1663), 

ii,  49. 

Faustus,  Doctor  (London,  1908),  ii,  135. 
Fear  (London,  1618),  ii,  38. 
Feast  of  the  Ass,  the,  i,  15;   i,  64;  — of  Fools,  i, 

101,  andn.  4. 

Fecundity  (Edinburgh,  1594),  i,  218. 
Feeble  Policy  (Bristol,  1574),  i,  206,  n.  5. 
Feis,  the,  at  Tara,  (New  York,  1913),  ii,  272. 
Felicity  (London,  1604),  i,  225. 
"Female  Worthies"  (Paris,  1431),  i,  138,  and  n.  4. 
Feminine  influence  on  tourneys,  i,  100. 
Femme  sauvage  (Bruges,   1515),  i,   76,  n.   2;  — 

(Paris,  1431),  i,  76;  i,  139,  and  n.  5. 


INDEX 


373 


Fenchurch  (London),  i,  200. 

Fenchurch  Street  (London),  i,  37;  i,  182;  i,  201; 

i,  223;  i,  227,  n.  i;ii,  115,  n.  2. 
Fenn,  Robert,  paid  for  angels  at  Norwich,  i,  27,  n.  3. 
Fenton,    Frederick,    of   Sadler's   Wells   Theatre, 

plans  the  1853  Show,  ii,  117. 
Ferdinand,  Elector,  celebrates  birth  of  a  son,  i, 

118;  —  and    Isabella    receive    Columbus   (St. 

Louis,  1886),  ii,  253,  n.  4. 
Fergus  I  (Edinburgh,  1633),  i,  236. 
Ferraria  (London,  1684),  ii,  62. 
Ferrers,  Mr.,  author  of  verses  (1575),  i,  208,  n.  3; 

i,  209,  n.  i;  — masque-writer,  i,  218,  n.  6. 
Ferris,  Darcy,  "master  of  the  revels"  at  Ripon,  ii, 

159. 

"Fertilization  spirits,"  i,  54,  n.  7. 
"Feste  du  Prince  de  Plaisance"  at  Valenciennes, 

(1348),  i,  94,  n.  7. 
"Festival,"  i,  7;  — the,  ch.  ix,  §3  (ii,  281  f.);  — 

and  "pageant,"  an  arbitrary  distinction,  ii,  268; 

—  shows  a  combination  of  the  "spirit"  of  the 
masque  and  the  "technique"  of   the  pageant, 
ii,  294;  —  or  "restricted  pageant,"  the,  ii,  203, 
n.  i;  ii,  205,  n.  2;  ii,  227;  ii,  228,  and  n.  3. 

"Festival  of  Empire,"  the,  i,  132,  0.4;  —  (1911), 
ii,  222,  n.  2;  ii,  224,  n.  3;  ii,  225. 

"Festival  of  the  Seasons,  the,"  at  Cambridge,  ii, 
284. 

Festivals,  children's,  at  London  (1914),  ii,  228  f., 
and  notes  2  and  3. 

"Festspiel,"  i,  xx;  —  the  German,  given  by  one 
class,  ii,  202,  and  n.  3;  —  repetition  of  perform 
ances  of,  ii,  205,  and  n.  3. 

"Fete  des  Syres  de  la  Joye,"  i,  88. 

Fetter  Lane  end  (London),  ii,  92. 

"Feux  d 'artifice"  and  pageantry,  ii,  178,  and  n.  3; 

—  directions  concerning  (1660),  i,  240  f.  —  with 
classical,  Biblical,  historical,  mythological,  and 
symbolical  elements,  i,  240  f. 

Fiction,  characters  of,  in  the  Hudson-Fulton  Pag 
eant,  ii,  244,  n.  i; — in  a  Marblehead  "pag 
eant,"  ii,  277  ff. 

Fictional  element  in  the  Mount  Holyoke  "pag 
eant,"  ii,  286. 

Fidelity  (Paris,  1498),  i,  163. 

Fido,  Pastor  (London,  1684),  ii,  62. 

Field  of  the  Cloth  of  Gold,  the  (1520),  i,  173  f. 

"Fiends  of  Darkness"  (St.  Louis,  1878),  ii,  253, 
n.  2. 

Fiennes,  Celia,  describes  a  Lord  Mayor's  Show 
temp.  William  and  Mary,  ii,  66  f.;  —  describes  a 
Norwich  civic  show,  ii,  67  f.;  —  her  description 
of  the  Lichfield  "Bower,"  ii,  148. 

Figgins,  Mr.,  on  the  1833  Committee,  ii,  109. 

Figures  in  Jordanian  "interludes"  are  types,  tend 
ing  toward  symbolism,  ii,  76;  —  symbolizing 
trading  interests  of  mayor,  or  lands  with  which 
he  deals,  ii,  75. 

Final  Picture,  the,  at  Sherborne,  ii,  211. 


"Final  picture,  the,  "keeps  allegory  and  symbolism, 
ii,  214. 

Finns  in  the  Boston  procession  of  1912,  ii,  247. 

Fire  (Keene,  1913),  ii,  271,  n.  4;  —  (Providence, 
1919),  u,  289. 

Fire,  animals  spouting,  i,  118;  i,  i6i;i,  181;  i,  186. 

"Fire-Breeder,  a,  "  (Boston,  1912),  ii,  247,  and  n.  2. 

Fire-department,  members  of  the  companies  of  the, 
in  the  St.  Louis  procession,  ii,  238. 

Fire-engine  (Coventry,  1862),  ii,  170;  —  a  modern, 
contrasted  with  the  old,  (Boston  1912),  ii,  247;  — 
a,  one  hundred  years  old,  (Norristown  1912),  ii, 
249;  —  in  the  Ripon  procession  of  1886,  ii,  160. 

Fire-engines  in  the  1891  Show,  ii,  126;  —  in  1906, 
ii,  132;  —  in  the  1910  Show,  ii,  136;  —  types  of 
(1892),  ii,  127. 

Firemen  in  the  1879  Show,  ii,  120;  —  in  the  1881 
Show,  ii,  121;  —  in  the  1883  Show,  ii,  122;  —  in 
the  1895  Show,  ii,  127;  —  and  engines  in  1890 
Show,  ii,  125;  —  from  France  and  the  provinces 
(1889),  ii,  124. 

Firemen's  Veteran  Association  of  Charlestown, 
the,  "hand-tub  "  dragged  by  members  of  (Boston, 
1912),  ii,  247. 

"Fires  of  St.  John,"  i,  36,  n.  5. 

Fireworks  (Antwerp,  1803),  i,  254;  —  at  Chester 
pageant,  i,  229;  i,  230,  and  n.  3;  —  at  Dublin 
(1665),  i,  251;  —  (Edinburgh,  1822),  i,  256;  — 
(London,  1612),  ii,  32;  —  at  London  (1697),  i, 
252;  —  (London,  1814),  ii,  161;  —  (Swansea, 
1881),  i,  257;  —  at  end  of  water-fight  (1610),  i, 
232;  —  close  celebration  of  bicentennial  (Ches 
ter,  1882),  ii,  240;  —  in  connection  with  the  bi 
centennial  (Philadelphia,  1882),  ii,  240;  —  in 
the  1629  Show,  ii,  40;  —  in  the  1635  Show,  ii, 
42;  —  fatal,  at  Norwich  (1611),  ii,  30  f.;  —  of  a 
pageantic  nature  (1606),  i,  229;  —  orders 
against  (1858),  ii,  119;  —  pageantic  (Elvetham, 
1591),  i,  217,  n.  i;  —  precepts  concerning,  ii,  14, 
n.  i;  —  remarks  on,  ii,  i78f.;  —  with  burning 
of  effigies  (1681),  ii,  175. 

First  Church,  Plymouth,  the,  ii,  259. 

"Fish,  Game,  and  Poultry"  (1890),  ii,  125. 

Fish  Street  (London),  i,  37. 

Fisher,  Jane,  leased  "Elephant  and  Castle"  inn 
(1818),  i,  68,  n.  2. 

Fisherman  Canadian  (Knutsford,  1913),  ii,  153. 

Fishermen  (1890),  ii,  125. 

Fishes  (London,  1298),  i,  81;  i,  124;  —  (London, 


Fishmongers  (London,  1783),  ii,  99. 

Fishmongers,  the,  celebrate  Falkirk  with  pag 
eantry  (1298),  i,  19,  n.  3;  i,  57;  i,  64  f.;  i,  78; 
i,  81;  i,  124;  ii,  71;  —  ship  of  (1313),  i,  ii,  n.  4; 
i,  126;  a  descendant  of  the  1313  ship  (1501), 
i,  114;  —  arbor  of  (1616),  ii,  80;  —  take  part  in 
the  1643  ceremony,  ii,  43  ;  —  represented  by 
Piscaria  (1684),  ii,  62;  —  trade-pageant  of 
(1700),  ii,  68;  —  (1761),  ii,  955  ii,  96. 


374 


INDEX 


Fitz-Alwin,  Sir  Henry  (London,  1614),  ii,  36;  — 
(London,  1615),  ii,  78,  n.  4;  —  (London,  1623), 
ii,  78;  —  (London,  1626),  ii,  78,  n.  4;  —  (London, 
1783),  ii,  99;  —  (London,  1889),  ii,  125;  —  (Lon 
don,  1906),  ii,  132;  —  (London,  1913),  ii,  138. 

Fitz-Alwin,  Sir  Henry,  first  Mayor  of  London,  ii, 
3,  and  n.  i. 

Fitzwilliams,  Sir  William  (London,  1783),  ii,  100. 

Five  Nations,  totems  of  the  (New  York,  1909),  ii, 

243- 

"Fixed  stage",  the,  of  the  masque,  i,  85. 
"Fixed"  pageants  in  "royal-entry,"  i,  19,  and  n.  4; 

i,  137- 

"Flag  Dance,  a"  (Boston,  1897),  ii,  261;  — 
(Plymouth,  1896),  ii,  260;  ii,  261. 

Flag  of  the  United  States  displayed  in  the  1881 
Show,  ii,  121. 

Flags  used  as  symbolic  decorations  (1905),  ii,  131; 
—  used  in  the  Plymouth  "festival"  of  1896,  ii, 
259;  ii,  260. 

Flamen  at  "Temple  of  Janus"  (1604),  i,  225,  n.  4. 

Flames  (Boston,  1910),  ii,  267. 

Flanders  (Bruges,  1515),  i,  173. 

Flanders,  Charles  II  comes  from  (1679),  i,  251. 

Flanders  and  Brabant,  King  of  (St.  Louis,  1847), 
", 239- 

Flecknoe,  Richard  (cited  by  Reyher),  on  scenery 
(1600),  i,  1 20. 

Fleet  Bridge  (London),  i,  202;  ii,  55. 

Fleet  Ditch,  ii,  67. 

Fleet  Street  (London),  i,  48;  i,  184,  and  n.  4;  i, 
187;  i,  189;  i,  194;  i,  202;  i,  242;  i,  243,  n.  i; 
i,  246;  ii,  92. 

Fleetwood,  Recorder,  on  the  1573  Show,  ii,  21  f. 

Flemish  Weavers  (London,  1907),  ii,  134. 

Fleur-de-lis  crowned,  cake  showing,  at  Paris, 
(1431),  i,  83. 

"Float,"  a,  in  the  Cadillac  pageant  mentioned,  ii, 
249,  n.  4. 

"Floats"  at  Revere  carnival  procession  (1912),  ii, 
254;  —  historical  scenes  on,  at  Norristown 
(1912),  ii,  249;  —  in  a  Boston  procession  (1880), 
ii,  239;  —  in  a  Marblehead  "pageant"  (1912), 
ii,  278;  —  in  the  Hudson-Fulton  Pageant  (1909), 
ii,  243  f.;  —  in  the  New  York  Pageant  of  1918, 
ii,  251  f. ;  —  in  the  Veiled  Prophet  processions, 
ii,  253  f.;  —  see  also  cars. 

Flora  (London,  1661),  i,  246;  — (St.  Louis  1878) 
ii,  253,  n.  2; —  (London,  1890),  ii,  125;  — 
(Mount  Holyoke,  1912),  ii,  286. 

'  'Floral  Car"  of  1902,  ii,  129. 

Floralia,  the,  origin  of  May  games  in,  i,  7. 

Florence,  Civic  tournaments  in,  i,  99,  n.  i;  —  pag 
eants  at,  i,  14,  n.  i. 

Florentine  "hommes  doctes"  (Avignon,  1600),  i, 
220;  —  merchants  exhibit  pageant  at  London, 
(I553),  i,  1 88;  —  warned  to  contribute  to  wel 
come  of  Charles  V  (1522),  i,  174. 


Florentines  in  civic  procession  (London,  143^),  i, 

143- 

Florio,  Captain,  i,  4. 

Florizell  (Coventry,  1862),  ii,  170. 

Flourishing  Commonweal  (London,  1559),  i,  81;  i, 

202. 

Flower  Girls  (Knutsford,  1913),  ii,  153. 

"Flying  Dutchman,  the"  (Revere,  1912),  ii,  254. 

Fog  of  Error,  the  (1613),  ii,  34. 

Folk-animals  given  trade-signification,  i,  196. 

Folk-celebrations,  animals  in,  i,  64. 

Folk-  and  court -dancing,  i,  105. 

Folk-custom  and  animals,  i,  121;  —  behind  mum 
ming,  i,  105;  —  shared  by  the  Church,  i,  16. 

Folk-customs  absorbed  by  the  Church,  i,  12  ff.;  — 
decay  of,  i,8ff. 

Folk-dances,  origin  of,  i,  5;  —  by  different  national 
ities  (Boston,  1910),  ii,  267;  —  by  different 
nationalities  (Taunton,  1911),  ii,  270;  —  in 
Brooklyn  mumming,  ii,  158;  —  used  to  represent 
our  Allies,  ii,  289. 

Folk-dancing  at  "royal-entries"  (1308),  i,  125; 
(1313),  i,  126;  (1330),  i,  127;  — revival  of,  i,  10. 

Folk-giant,  origin  of,  ii,  171. 

Folk-giants  and  saints'  images,  i,  51. 

Folk-lore  material  in  modern  pageants,  ii,  281. 

"Folk-masques",  i,  105. 

Folk-mumming,  ch.  i,  §  i  (i,  4ff.);  —  and  the 
court,  i,  85;  —  and  masque,  i,  105. 

Folk-pageantry,  survivals  and  revivals  of,  in 
modern  times,  ch.  vii,  §  i  (ii,  146  f.). 

Folk-pageants  revived  at  Chester  (1910),  ii,  224. 

"Folk-play,"  i,  xix,  xx;  —  early  and  later  mean 
ings  of,  ii,  133,  n.  2;  ii,  197,  and  n.  4;  —  the  name 
first  suggested  for  the  pageant  at  Sherborne,  ii, 
197;  —  tournament,  and  dance,  i,  105. 

"Folk-plays,"  i,  7  and  n.  i. 

Folk-revels  at  Knutsford,  ii,  153;  —  revived  in 
modern  pageants,  ii,  224. 

"Folk-ships,"  developments  of  the,  suggested  in 
later  historical  reproductions,  ii,  237,  n.  4. 

Folk-sports  for  Elizabeth  at  Kenilworth,  (1575),  i, 
208. 

Folkestone,  Guy  Fawkes'  Day  at,  i,  10. 

"Followers,"  the  City  (Coventry,  1826),  ii,  168, 
and  n.  2;  —  (1862),  ii,  170. 

Folly  (London,  1559),  i,  201; —  (Oxford,  1907),  ii, 
223. 

Food  Supply  (Providence,  1919),  ii,  289. 

Fool,  the,  i,  7,  n.  i ;  i,  10,  n.  i ;  i,  12;  —  (Winchester, 
1908),  ii,  225;  —  in  Irish  folk-festivals,  i,  73, 
n.  3;  —  in  St.  George  plays,  i,  73. 

Fool,  April  (Cambridge,  1919),  ii,  284. 

Fools  at  Norwich,  i,  27;  i,  28,  and  n.  3. 

Football,  origin  of,  i,  6,  n.  i. 

Force  by  sea  and  land  represented  in  the  1585 
Show,  ii,  24. 

Ford,  John,  son  of  Sir  Richard,  in  the  1661  "en 
try,"  i,  244,  n.  3. 


INDEX 


375 


Ford,  Sir  Richard,  on  a  civic  committee,  i,  247;  — 

sons  of,  in  1661  " entry,"  i,  244,^3;  —  daughter 

of,  in  1662  "triumph,"  i,  247. 
Ford,  Samuel,  in  the  1661  "entry,"  i,  244,  n.  3. 
Fore  Street  (London),  ii,  114. 
Foreign  legates  in  a  mumming,  i,  104. 
Foreign  merchants  greet  king  (London,  1432),  i, 

143 ;  —  refuse  to  prepare  pageants  for  Charles  V 

(London,  1522),!,  174. 
Foreign  soldiers  march  in  parade,  in  connection 

with  the  Hudson-Fulton  celebration,  ii,  242,  n.  3. 
Foreign  Universities  (Boston,  1908),  ii,  282. 
Forerunner  of  tableaux  vivanls,  ii,  97  f.;  ii,  257,  and 

n.  i. 
Forest,  a  pageantic  (1511),  i,  115;  —  spirit  of  the 

(Keene,  1913),  ii,  271;  —  with  hunters  (Paris, 

1431),   i,    140;  —  with   animals  for  a   Skinner 

(1671),  ii,  50  f.;  —  with  grazing  sheep,  a  trade- 
pageant  (1675),  ii,  55. 
Forester,  Orson  and,  i,  79,  n.  7;  —  (Bruges,  1515) 

i,  76,  and  n.  2;  —  and  wood-man  in  London, 

(1663),!,  77;  ii,  49. 
Foresters  (Knutsford,  1913),  ii,  i53;ii,  154; —  in 

a  pageantic  forest  at  court  (1511),  i,  115; — in  a 

1522  masquerade,  i,  121. 
Foresters',  Order  of,  in  the  Coventry  procession  of 

1862,  ii,  170;  —  in  the  Ripon  procession  of  1886, 

ii,  160. 
"Foresters,"  relation  of,  to  "wild-men,"  i,  74;   i, 

77;  ",49- 

Foresters'  costumes  in  the  1914  "Bower,"  ii,  152. 

Forests,  Spirits  of  (London,  1911),  ii,  225;  —  Spirits 
of  the  (St.  Johnsbury,  1912),  ii,  270. 

Forrest,  Sir  George,  on  Indian  "elephant  and 
castle,"  i,  67;  —  suggests  resemblance  between 
Church  processions  and  Muharram,  i,  17. 

Forsythe,  John,  pictured  at  Belfast  (1914),  ii,  181. 

Fort  at  Bristol,  (1574),  i,  206;  —  at  Sandwich 
(1573),  i,  206,  n.  2;  —  at  Warwick  (1572),  i,  205; 
—  in  a  masque  (Elvetham,  1591),  i,  216. 

Fort  Hill  (Boston),  ii,  177. 

Forth  (Edinburgh,  1908),  ii,  214. 

Fortitude  (London,  1501),  i,  168;  —  (London, 
1522),  i,  178;  —  (London,  1618),  ii,  38;  —  (Stutt 
gart,  1609),  i,  99;  —  treads  on  Holof ernes  (Edin 
burgh,  1503),  i,  169;  —  in  a  funeral  pageant  at 
Rome,  i,  17,  n.  6, —  in  Lydgate's  London  dis 
guising,!,  107. 

"Fortress  of  Perfect  Beauty,"  the  (1581),  i,  97. 

Fortune  (London,  1432),  ii,  77;  —  (London,  1432), 
i,  144;  —  (London,  1547),  i,  186; — (London, 
1591),  ii,  26;  —  (London,  1684),  ii,  62;  —  (Nanles, 
1443),  i>  *47>  n-  2»  —  m  Lydgate's  London  dis 
guising,  i,  107 ;  —  in  Lydgate's  mumming  for 
the  London  Goldsmiths,  i,  106,  n.  4;  —  Queen  of 
(Coventry,  1498),  i,  164. 

Foster-children  of  Desire  (1581),  i,  97;  i,  213  f.;  ii, 
273,  n.  3. 

Foster  lane  (London),  i,  242. 


"Fount  of  Virtue"  (London,  1604),  i,  224,  n.  6. 

"Fountain  of  Hippocrene"  (Edinburgh,  1633),  i, 
237- 

Fountains  Abbey  (Ripon),  ii,  161,  and  n.  3. 

Four  Foster-children  of  Desire.    See  Foster. 

Four  Spouts  (London),  i,  241,  n.  3. 

Fourth  of  July  celebrated  at  Lancaster  with  his 
torical  scenes  (1912),  ii,  264;  —  at  New  York 
(1918),  ii,  251  f.;  —  at  Philadelphia  (1788),  ii, 
236;  —  at  Springfield  (1908),  ii,  241;  —  at 
Taunton  with  pageantry  (1911),  ii,  270,  n.  i;  — 
celebration  of  with  pageantry,  suggested  by 
Mr.  MacKaye,  ii,  303 ;  —  pageantry  at  Pitts 
burgh,  ii,  303. 

Fox,  George  (Scarborough,  1912),  ii,  222,  n.  2. 

Foxe,  Bishop,  contriver  of  1501  "  entry,"  i,  i66,n.  6. 

Foxe  bitter  at  parallel  between  Philip  and  Orpheus, 
i,  i93- 

Foxe's  unfriendly  account  of  the  1554  "entry,"  i, 
190,  n.  12;  i,  191  f. 

France  (Avignon,  1600),  i,  220;  —  (London,  1509), 
i,  170;  —  (London,  1604),  i,  225;  —  (London, 
1853),  ii,  116,  n.  3;  — (London,  1905),  ii,  75, 
n.  6;  ii,  131;  —  (Paris,  1513),  i,  171- 

France,  Ambassador  of,  in  Anne  Boleyn's  corona 
tion  "entry"  (1533),  i,  181;  —  influence  of  pro 
cessions  in,  on  the  Lord  Mayor's  Show,  ii,  116;  — 
influence  of  1661  "entry"  on,  i,  247;  —  King  of, 
founds  a  "round  table,"  i,  92;  —  personified  by  a 
gigantic  figure  (1905),  ii,  131. 

Francis  II  at  Chenonceau  (1559),  i,  202  f. 

Franciscans  (London,  1680),  ii,  173. 

Francois  I  (Quebec,  1908),  ii,  241;  ii,  263. 

Fraternity  (Providence,  1919),  ii,  289. 

Frederick,  Emperor  (London,  1680),  ii,  173. 

Frederick,  Sir  John,  Mayor  of  London  (1661),  ii, 
48. 

Freedom  Hall  (Plymouth),  ii,  236. 

Freedom  of  Thought  (Providence,  1919),  ii,  289. 

Freeman  in  a  1671  "interlude,"  ii,  51;  ii,  76. 

Freeman,  Ralph,  Mayor  of  London  (1633),  ii,  41, 
n.  6. 

Freeport,  Sir  Andrew,  a  picture  of  Sir  Gilbert 
Heathcote,  ii,  86,  n.  2. 

Free  School,  Coventry,  founder  of,  ii,  170,  n.  7. 

French  King  in  the  Midsummer  Show  (London, 
1534),  i,  41;  — people  [personified]  (Paris,  1498), 
i,  163;  —  soldiers  (Norristown,  1912),  ii,  249;  — 
(Quebec,  1908),  ii,  263  f. 

French  admiral  at  London  (1546),  i,  185;  —  fleet 
defeated  in  a  mock-fight  (1814),  ii,  162; — in 
the  New  York  Pageant  of  1918,  ii,  252;  —  land 
ing  of  the  (Marietta,  1888),  ii,  258;  —  players 
in  the  Dover  Pageant,  ii,  205; — sapeur-pompiers 
in  the  1889  Show,  ii,  124;  —  speech  planned 
(1628),  ii,  39;  —  trumpeters  at  Temple  Bar 
(1547),  i,  187. 

French-Canadian  group,  a  (Taunton,  1911),  ii,  270. 

Frenchman,  a  (London,  1617),  ii,  76. 


376 


INDEX 


Friar  Tuck  (Coventry,  1862),  ii,  170;  —  (Lichfield, 
1893),  ii,  150,  — (London,  1615),  ii,  144,  n.  i;  — 
in  May-Day  mummings,  i,  65,  n.  i. 

Friars,  effigies  of  (London,  1681),  ii,  175. 

Friction  between  the  Honourable  Artillery  Com 
pany  and  the  mayor  (1779),  referred  to,  ii,  61, 
n.  2. 

Friday  Street  (London),  i,  168,  n.  3. 

Friedrich  II,  pageants  at  the  wedding  of,  i,  12,  n.  3. 

Friends'  Meeting,  a  float  contributed  by  (Norris- 
town,  1912),  ii,  249,  n.  3. 

"Fringes,"  i,  23,  n.  3. 

"From  Cave  Life  to  City  Life,"  ii,  265  f. 

"From  Kingdom  to  Colony,"  ii,  277  f.,  ii,  295. 

Front  Royal  (Virginia)  tournament  at  (1866),  ii, 
286,  n.  4. 

"Frontier  Incident,  a,"  in  the  1911  "Tournament," 
ii,  189. 

Frost  King,  the  (New  York,  1909),  ii,  244,  n.  i. 

Fruiterers,  car  of  the  (1892),  ii,  12  6; — (1895),  ii, 
127. 

"Fruits"  (St.  Louis,  1878),  ii,  253,  n.  2. 

"Fruits  and  Flowers"  (1890),  ii,  125. 

Funeral  car  of  Charles  V  at  Brussels  (1559),  i,  19S> 
n.  i;  —  "giants"  at  Shanghai,  i,  50,  n.  4;  — 
"machine"  for  obsequies  of  Alexander  VII;  — 
car,  for  obsequies  of  Charles  V,  i,  17,  n.  6. 

Fur  (Keene,  1913),  ii,  271,  n.  4. 

Fur-clad  dignitaries  (1628),  ii,  39. 

Fustigo,  i,  132,  n.  2. 

"Future  city,  the  "  (Boston,  1910),  ii,  267. 

Future,  the,  suggested  (Avignon,  1600),  i,  220. 

"Futurism"  in  pageantry,  ii,  293. 

"Futuristic"  pageant,  the,  ii,  233;  —  allegory  in, 
ii,  214;  ii,  215;  —  quality  of  the  Taunton  Pag 
eant  of  1911,  ii,  270;  —  qualities  in  the  Vermont 
pageants,  ii,  271;  —  suggestion,  a,  in  an  Edin 
burgh  masque,  ii,  227. 

G.  A.  R.,  members  of  the,  give  scenes  in  the  Boston 
"festival"  of  1897,  ii,  261. 

Gabitt,  pageant  designer  (1561),  ii,  18. 

Gablers'  Fair  (Scarborough,  1912),  ii,  222,  n.  2. 

Gabriel  (London,  (1522),  i,  178, — (Norwich,  1469;, 
i,  1535  —  (Paris,  1513),  i,  172. 

Gaelic  League,  American  Committee  of,  gives  his 
toric  pageant,  ii,  272. 

Gage,  General,  effigy  of,  at  Boston,  ii,  177. 

Gaiety  (Edinburgh,  1908),  ii,  223. 

Galatea  (London,  1661),  ii,  48;  —  (London,  1685), 
ii,63. 

Galley-foist,  ii,  10,  and  n.  5. 

"Galye  sotylties,"  i,  83,  n.  5. 

Gamble,  John,  composer  of  music  for  a  1662  "tri 
umph,"  i,  250. 

Gamekeepers  (1890),  ii,  125. 

Ganymedes  (Bruges,  1515),  i,  76,  n.  2. 

Garden,  a  mechanical  (London,  1522),  i,  177. 


"Garden  of  France"  (Paris,  1513),  ["Vergier  de 

France"],  i,  172. 

"Garden  of  Hope"  (1516),  i,  116. 
"Garden  of  Plenty"  (London,  1604),  i,  225;  — 

(London,  1661),  i,  246. 
Gardeners  (1890),  ii,  125;  —  "in  costume"  (1902), 

ii,  129. 

Gardeners'  trade-pageantry  (1902),  ii,  129. 
Garibaldi  (London,  1914),  ii,  147,  n.  2. 
Garibaldi,  uniforms  of  the  time  of  (Boston,  1912), 

2,847- 

Garlands  in  Lichfield  "Bower,"  ii,  148;  ii,  149. 

Garnett,  P.,  on  the  Bohemian  Club  "Jinks,"  ii, 
286. 

Garrard,  Sir  John,  to  advise  about  1606  "entry," 
1,227. 

Garrick,  David  (Lichfield,  1909),  ii,  151. 

Garter,  Bernard  —  his  farewell  speech  to  Eliza 
beth  (Norwich,  1578),  i,  211;  —  his  verses  at 
Norwich,  (1578),  i,  211,  and  n.  i. 

Garter  King  of  Heralds,  deviser  of  pageants  (1522), 
i,  174,  n.  6. 

Garter,  Order  of  the,  and  the  1344  "Round  Table," 
i,  93;  —  represented  in  the  1907  Show,  ii,  134; 
—  service,  a  special,  at  Windsor  (1912),  ii,  227, 
n.3- 

Gascoigne  acts  his  play  (1575),  i,  208;  —  as  Syl- 
vanus,  i,  209. 

Gascoigne's  masque  not  given  (1575),  i,  209,  n.  i. 

Gascony  (London,  1509),  i,  170. 

Gate  at  Bulwark  [of  the  Tower],  ii,  49. 

Gates,  the  (Chester,  1910),  ii,  215. 

Gates,  gentleman,  drowned  in  a  water-" triumph," 
(1536),  i,  98. 

Le  Gaullon,  Auguste,  ensign  of  children's  com 
pany  (Metz,  1604),  i,  226. 

Gaunt,  John  of  (London,  1522),  i,  177. 

Gaveston,  Piers  (London,  1907),  ii,  134. 

Gaveston,  Piers,  story  of,  told  at  Warwick  (1906), 
ii,  219;  —  at  Scarborough  (1912),  ii,  219,  n.  3. 

Gayant,  of  Douai,  i,  55,  n.  2. 

Gayton's  "Charity  Triumphant"  (1655),  ii,  44. 

Geddes,  Professor  Patrick,  his  "Masque  of  Learn 
ing"  (1912),  ii,  226  f.,  and  n.  4. 

Geffrey,  William,  entertains  royalty  (1501),  i,  168, 
n.  2. 

Genealogical  table  of  Scottish  kings  (Edinburgh, 
1579),  i,  213,  and  n.  i;  — (London,  1533),  i, 
183;  —  (London,  1554),  i,  193;  —  trees  (London, 
1432),  i,  146;  —  (London,  1522),  i,  177;  i,  178. 

"General  Pike,"  model  of  the  (St.  Louis,  1847),  ii, 

237- 

Genii  on  a  transparency  (1801),  ii,  102. 

Genius  (Lichfield,  1909),  ii,  151;  —  of  Amphion 
(London,  1610),  i,  231;  —  of  the  "Arabian 
Nights"  related  to  monsters  of  romance,  i,  54, 
n.  3;  —  of  the  City  [London],  (London,  1604),  i, 
223,  and  n.  3;  i,  224,  and  n.  i;  i,  225,  and  notes 
4  and  5;  ii,  75;  —  (London,  1606),  i,  228,  n.  i; 


INDEX 


377 


ii,  75;  —  (London,  1616),  ii,  80;  (London,  1783), 
ii,  100;  —  (Ripon,  1886),  ii,  161;  —  of  the  City, 
a  step  between  the  "angel"  and  personification, 
i,  81;  —  of  Corinea  (London,  1610),  i,  231;  — 
of  Fortune  (Naples,  1443),  i,  147,  n.  2; — of 
Justice  (Reggio,  1453),  i,  148,  n.  4;  —  of  London 
(1616,  1639),  i,  82,  n.  2;  —  (London,  1913),  ii, 
138;  —  of  the  World,  the  (London,  1911),  ii,  225. 
"Geniuses"  of  Henri  IV  and  Marie  de  Medici 

(Avignon,  1600),  i,  220. 
Genoese  Merchants  (London,  1907),  ii,  134. 
Genoese  Merchants,  contribute  a  pageant  (1553), 

i,  188;  —  in  a  civic  welcome  (1432),  i,  143. 
Geometry    (London,    1432),    i,    145;  —  (London, 
1661),  i,  245;  —  represented  with  Euclid  (Lon 
don,  1432),  i,  79;  i,  145. 
George,  King  (in  "folk- plays"),  i,  7,  n.  i. 
George  (Saint)  —  see  Saint  George. 
George  (Saint  or  Prince),  i,  7,  n.  i. 
George  and  Dragon,  the,  —  an  inn-sign,  i,  69. 
George  I  at  London  (1714),  i,  253. 
George  II  (Edinburgh,  1908),  ii,  214;  —  (Lichfield, 

1893),  ii,  150. 

George  III  (Cheltenham,  1908),  ii,  217;  —  (Lich 
field,  1893),  ii,  150. 
"George  III,  court  of"  (Taunton,  1911),  ii,  269; 

ii,  270. 
"George  III,  pulling  down  the  statue  of,"  in  the 

Hudson-Fulton  Pageant,  ii,  243. 
George  IV  at  Edinburgh  (1822),  i,  255  f.;  —  starts 
for  Edinburgh  i,  77,  n.  i ;  —  visit  of,  referred  to, 
in  1839,  ii,  184,  n.  5. 

George  V  at  the  Durbar,  i,  258;  —  at  the  1911 
"tournament,"  ii,  189;  —  at  the  Quebec  Pag 
eant  (1908),  ii,  241;  —  coronation  of,  celebrated 
at  Salisbury  (1911),  i,  258. 

George  and  Crispin  —  Saint  and  King,  ii,  165,  n.  5. 
Georgian  farmer,  with  his  wife  (Ripon,  1886),  ii,  161. 
Gerald,  the  Welshman  (York,  1914),  ii,  230. 
German  —  see  Jarman. 
German  military  bands  in  a  New  York  parade 

(1909),  ii,  242,  n.  3. 

German  Settlers  (Norristown,  1912),  ii,  249. 
German  veterans  (Boston,  1912),  ii,  245. 
Germania  (London,  1691),  i,  82,  n.  2;  ii,  75;  — 

(New  York,  1909),  ii,  244,  n.  i. 
Germanic  influence  on  French  romances,  i,  52. 
Germans  entertained  at  Guildhall  (1610),  ii,  30;  — 

in  the  Boston  procession  of  1912,  ii,  247. 
Germany  (London,  1853),  u>  I][6,  n.  3. 
Germany,    Roman   troops    depart    for    (London 
1914),  ii,  190;  —  ship  processions  in,  i,  ii,  n.  4 
"Ghostly  gifts"  (London,  1432),  i,  144. 
Giant  (Antwerp,  1803),  i,  254;  —  (Belgium),  i,  195 
n.  i;  —  (Bristol,  1461),  i,  151;  — of  Barking,  i 
40,  n.  5;  in  a  Burgundian  masque  (1453),  i,  67 
n.  i;  —  (London,  1415),  i,  58,  n.  i;  i,  133,  and 
notes  i  and  2;  i,  195;  —  (London,  1432),  i,  58 
n.  i;  i,  143;  —  (London,  1522),  i,  40,  and  n.  5 


i,  56,  and  n.  3;  i,  195,  n.  2;  —  (London,  1656),  i, 
57,  n.  2;  i,  60;  ii,  46;  —  (London,  1685),  ii,  63; 
—  (London,  1913),  i,  63;  ii,  36;  ii,  138;  — the 
Salisbury,  in  modern  times,  ii,   issf.;  —  and 
"wild-man"  combined,  i,  70.    See  also  giants. 
'iant- champion  (London,  1432),  i,  143,  and  n.  6. 
iiant-champion,  relation  of,  to  the  "armed  man," 
i,48. 

Hant-hero,  i,  53  f. 

Giant-herdsman,"  connection  of  the,  and  "wild- 
man,"  i,  74.;  —  in  romances,  i,  53. 
Giantess  of  Antwerp,  i,  255. 

riants,  i,  xvi;  i,  xix;  i,  n;  ch.  i,  §  5  (i,  506".);  — 
(Antwerp,  1843),  i,  256,  and  n.  6;  —of  London 
recalled  by  a  man  on  stilts  (Boston,  1912),  ii, 
246;  —  at  the  Chester  Midsummer  Show,  i,  44  f., 
and  notes;  —  revived  in  the  Chester  Pageant,  ii, 
224;  —  in  the  Coventry  Midsummer  Show,  i, 
46;  —  on  the  Continent,  i,  50  f.,  and  notes;   i, 
55,  notes;  —  in  England  and  on  the  Continent, 
i,  54  f.;  —  connected  with  civic  history,  i,  56;  — 
[mechanical]  (London,  1421),  i,  137^;  — (Lon 
don,  1522),  i,  176;  —  (London,  1534),  i,  41,  and 
notes;  —  (London,  1554),  i,  191;  i,  S7j  n.  2;- 
(London,   1559),  i,   202;  —  (London,   1605),  ii, 
28;  — (London,  1606),  i,  57,  n.  2;  i,  228,  n.  i;  — 
(London,  1672),:,  57,  n.  2;  i,  60,  andn.  3;  ii,  53; 
(London,  1685),  i,  51,  n.  2;  — (London,  1708), 
i,  61,  and  n.  4;  —  in  early  xviii  century  shows, 
ii,  86,  n.  i;    ii,  89;  — at  Guildhall,  i,  59,  and 
n.  4;  —  ironically  described  (c  1700),  i,  61; — 
(London,    1827),    i,    63;     ii,    109;  —  (London, 
1905),  ii,  131;  —  (in  the  Midsummer  Watch),  i, 
375  i,4°,  andn.  5;  i,  41,  and  n.  3;  —  (Munich, 
1662),   i,    1 18;  — (Norwich,    1469),   i,    152;  — 
polycephalic,    i,    54; —  represent    the    Deadly 
Sins  in  "Piers  Plowman,"  i,  no;  —  in  romances, 
i,  53  ff.;  —  satirized  in  the  xix    century,  i,  62, 
n.  2;  —  and  saints'  names,  i,  57;  —  funeral,  at 
Shanghai,  i,  50,  n.  4. 

"Giants'  Graves"  in  Lancashire,  i,  51,  n.  3. 
"Giant's  leap,"  the,  i,  59. 
Gibbs," Fiddler, "i,  70,  n.  i. 
Gibbons,  Orlando  (London,  1908),  ii,  135. 
Gibson,  Richard,  master  of  the  revels  (1522),  i,  97; 
—  prepares  pageant-cars  in  masques,  i,  115,  n.  4. 
Gifts  from  Roman  gods  and  goddesses  given  Eliz 
abeth  (Kenilworth,  1575),  i,  208. 
Gigantic  animals  in  Italian  "trionfi,"  i,  14,  n.  i ;  — 
figure  of  Father  Knickerbocker   (New  York, 
1909),  ii,  243;  —  figures  in  the  1905  Show  per 
sonify  France  and  England  and  Peace,  ii,  131. 
"Gigantick  History,  The,"  i,  47  ff.;  —  account  of 

Lord  Mayor's  Day  in,  ii,  89  f. 
Gilding  of  the  Cross  in  Cheapside  (1522),  i,  175. 
Gilgit,  Fort  of,  stormed  in  a  mock-fight  (1893),  ii> 

188. 

Gillome,  Hugh,  paid  for  dancing  at  Midsummer  at 
Chester,  i,  43,  n.  5. 


378 


INDEX 


Girl  Scouts  to  observe  the  Pilgrim  Tercentenary, 
ii,  276. 

Gladman's  Insurrection  at  Norwich,  i,  8;  i,  104. 

Gladness  (London,  1604),  i,  224. 

Gladstone,  Mr.,  guest  at  Guild-hall  (1883),  ii,  122, 
n.  i ;  —  (Lichfield,  1893),  u',  ^3°- 

Glasgow  paper,  notice  of  the  Eglinton  tournament 
in  a,  ii,  184,  and  n.  5. 

Glaucus  (Elvetham,  1591))  i>  216;  —  (London, 
1685),  ii,  63. 

"Globe,  the  Golden"  (St.  Louis,  1878),  ii,  253,  n.  2. 

"Globe  of  Honour,"  the  (London,  1622),  ii,  77. 

Globe,  mechanical  (Edinburgh,  1579),  i,  212. 

"Glory  of  Furs"  (London,  1628),  ii,  39. 

Gloucester,  "The  Canterbury  Pilgrims"  at,  ii,  302. 

Gloucester,  Duke  of,  statue  of  (London,  1661),  i, 
243,  n.  i;  —  (London,  1907),  ii,  134;  —  (London, 
1910),  ii,  136. 

Gloucester,  Duke  of,  heads  citizens,  ii,  6. 

Gloucester,  Henry  VII  at  (1486),  i,  160. 

Gloucestershire  Pageant,  the,  of  1908,  i,  218,  n. 
i;  ii,  219;  ii,  222,  n.  2;  —  characterization  of 
rivers  in  the,  ii,  216  f.;  —  at  Cheltenham,  ii, 
199  f.;  —  given  for  a  charity,  ii,  206,  n.  2. 

Gnomes  (New  York,  1909),  ii,  244,  n.  i. 

Goblins  (Edinburgh,  1908),  ii,  214. 

God  at  Chester,  i,  43  ff.;  i,  44,  n.  2;  i,  78;  — in 
Midsummer  Shows  at  Chester,  i,  43  ff.,  and 
notes;  —  (London,  1392),  i,  131,  and  n.  i;  — 
(London,  1501),  i,  168,  and  n.  i;  —  in  the  "royal- 
entry,"  i,  195. 

"God  Save  the  King,"  i,  186;  —  sung  in  1740,  and 
in  1761,  ii,  178,  n.  4. 

"God  Save  the  Queen"  sung  to  Victoria  (1837),  ii, 
in,  n.  2. 

Goddess  of  Liberty  (New  York,  1909),  ii,  243. 

Godfrey  of  Bouillon  —  see  Nine  Worthies. 

Godfrey  of  Bouillon  (Coventry,  1456),  i,  150;  — 
(Paris,  1431),  i,  138,  n.  4.  See  also  Nine 
Worthies. 

Godfrey,  Justice,  a  corpse  representing  (London, 
1680),  ii,  173;  —  an  effigy  of  (London,  1681),  ii, 
174. 

Godfrey  with  first  Charter  of  London  (London, 
1783),  ii,  98. 

Godiva  at  Coventry,  i,  25,  n.  i;  i,  34;  —  (Coven 
try,  1826),  ii,  167;  —  (Coventry,  1848),  ii,  170; 
— (Coventry,  1862),  ii,  170;  —  (Coventry,  1911), 
ii,  171;  —  in  Coventry  processions,  ii,  168,  f. 

Godiva,  Lady,  procession  of,  at  Coventry,  ii,  166  f.; 

—  procession  attacked  (1845),  ii,  169. 
Gods  and  genii  at  Venice,  i,  14,  n.  i. 
God's  Truth  (London,  1590),  ii,  25. 

Godshall,  Sir  Robert,  Mayor  of  London  (1741),  ii, 

93- 

Godwin,  George,  his  letter  of  1850,  ii,  114. 
Godwine  (London,  1907),  ii,  133. 
Godyn,  John,  paid  for  minstrels  and  their  hoods, 

and  barge  hire,  ii,  7. 


Goethe  (Boston,  1908),  ii,  282. 

Gog  and  Magog,  i,  59  ff. ;  —  in  Bible  and  romances, 
i,  59,  n.  5. 

Gogmagog,  i,  54;  i,  57,  notes  2  and  3;  i,  58  ff.;  i, 
60;  i,  78,  n.  i;  i,  79;  —  (London,  1554),  i,  191; 
i,  195;  —  (London,  1559),  i,  202;  —  (London, 
1605),  ii,  28;  —  ii,  281;  ii,  297;  —  and  Corineus 
in  history,  i,  58,  n.  2;  i,  59. 

Gold  (St.  Louis,  1914),  ii,  273,  n.  3. 

Gold  and  Silver  Wyre  Drawers  in  the  1885  Show, 
ii,  123;  —  show  men  in  emblematical  costumes 
(1889),  ii,  124;  —  trade-pageant  of  (1892),  ii, 
126. 

Golden  Fleece,  the,  i,  40;  —  (Coventry,  1826),  ii, 
168;  —  (London,  1522),  i,  81;  i,  176;  i,  196;  — 
(London,  1547),  i,  186;  —  (London,  1614),  ii, 
36;  —  a  trade-pageant  of  the  Drapers  (London, 
1621),  ii,  73;  —  connected  with  Drapers  (1626), 
ii,  78,  n.  4;  —  (London,  1675),  ii,  55. 

Gold-miner  (London,  1910),  ii,  189. 

Goldingham,  Henry,  author  of  verses  (1575),  i,  209, 
n.i. 

Goldingham's  masques  (Norwich,  1578),  i,  211, 
and  n.  2. 

Goldsmiths  accompany  mayor  (1643),  ii,  43;  — 
barge  (1822),  i,  255;  —  in  1842,  ii,  112,  n.  i;  — 
castle  of  1377,  descendant  of  (1501),  i,  114;  — 
castle  of  1377,  i,  128;  —  castle  (1382),  i,  129;  — 
desired  to  prepare  for  Margaret  of  Anjou's  re 
ception,  i,  148;  —  Hall,  i,  253,  n.  2;  —  Pageant 
in  1662  "triumph,"  i,  248; — employ  Munday 
(1611),  ii,  31; — go  to  Westminster  by  river 
(1721),  ii,  88;  —  represented  by  Aurifera  (1684), 
ii,  62; — resolve  not  to  join  procession  (1845), 
ii,  113;  —  trade-pageant  of  the  (1892),  ii,  127; 
—  represented  by  Moorish  kings  (1913),  ii,  138, 
and  n.  2;  —  show  old  costumes  (1804),  ii,  103. 

Goldsmiths  (London,  1783),  ii,  99. 

Goliath,  i,  57,  n.  3;  —  the  giant  of  Ath,  i,  55,  and 
n.  2. 

"Golldyn  Arber  in  the  Archeyerde  of  Plesyer" 
(iSii),i,  116. 

Good  Counsel  (Paris,  1498),  i,  164. 

Good  Fortune  (London,  1684),  ii,  62. 

Good  Shepherd,  The,  (Paris,  1498),  i,  163. 

Good  ["great"]  Shepherd  (Paris,  1513),  i,  171. 

Good  Will  (Paris,  1498),  i,  163. 

Goodman,  Richard,  Mayor  of  Chester  (1497),  i,  162. 

"  Gorboduc,"  wild-men  in,  i,  76. 

Gore,  John,  Mayor  of  London  (1624),  ii,  38,  n.  8. 

Gothic  Architecture  (Cambridge,  1911),  ii,  287. 

Government  (London,  1623),  ii,  78;  —  (London, 
1626),  ii,  78,  n.  4;  —  represented  by  Cicero 
(1676),  ii,  79,  n.  2. 

Gov.  Thomas  Dudley  Family  Association,  the, 
give  a  scene  in  the  Boston  "Festival"  (1897), 
ii,  260,  n.  5. 

Governor  of  Pennsylvania  receives  a  pageantic 
Penn  (1882),  ii,  239. 


INDEX 


379 


Governor,  reception  of  the  (Boston,  1910),  ii,  266, 

ii,  268. 
Gown,  mayor  requested  to  provide  a  new,  at  the 

City's  charge,  (1727),  ii,  88. 
Grace  (London,  1432),  i,  144;  i,  146,  and  n.  3;  ii,  77; 

—  (London,  1547),  i,  186;  —  the  "Chauncelor 
de  Dieu"  (London,  1445),  i,  148. 

Gracechurch  Street  (London),  i,  37;  i,  165;  i,  167; 
i,  169;  i,  173;  i,  176;  i,  182,  and  n.  5;  i,  189;  i, 
190;  i,  191;  i,  192;  i,  200;  i,  224,  and  n.  3;  i, 
241,  n.  3;  ii,  68;  ii,  114;  ii,  115,  n.  2. 

Grace  Darling  (Lichfield,  1904),  ii,  151,  n.  3;  — 
and  her  Father  (Knutsford,  1913),  ii,  154. 

Grace  Darling's  life  boat  in  the  1883  Show,  ii,  121. 

Graces,  the  Three  (London,  1533),  i,  183;  —  (Lon 
don,  1604),  i,  224. 

Graces,  the  (Avignon,  1600),  i,  220;  —  (Elvetham, 
1591),  i,  216;  i,  217,  n.  i;  —  (London,  1609),  ii, 
20;  —  (London,  1613),  ii,  34. 

Grafton,  Duke  of,  i,  155,  n.  i. 

Grafton,  supervisor  of  pageants,  i,  190. 

Grammar  (London,  1432),  i,  145. 

Granby,  General  Marquis  of  (London,  1889),  ii,  125. 

"Grand  Pageant,  The,"  in  a  pantomime  (1783), 
ii,  100. 

Grass  Cross,  Worcester,  i,  210. 

Grasschurch  [Gracious]  Street,  see  Gracechurch. 

Gratulation  (Bristol,  1574),  i,  206. 

Gravesend,  Sir  Thomas  of,  part  purchaser  of 
saints'  images  (1509-10),  i,  57,  n.  2. 

Gravesend,  pageantic  fireworks  at  (1606),  i,  229. 

Gray,  Thomas,  master  of  St.  Christopher's  Guild, 
i,  156,  n.  3. 

Grays  Inn,  Gentlemen  of,  give  "shows"  at  Green 
wich  (1588),  i,  214. 

Great  Britain  (London,  1902),  ii,  129. 

Great  Britain  represented  by  a  car  (1904),  ii,  130. 

"Great  Harry,"  model  of  the  (London,  1902),  ii, 
129. 

Grebert,  Jehan,  at  Lille,  i,  75,  n.  4;  i,  81. 

Greece,  ancient,  represented  by  a  car  (1904),  ii, 
130. 

Greece  (London,  1904),  ii,  75,  n.  6. 

Greed  (Providence,  1919),  ii,  289. 

Greek  cities  personified,  i,  17,  n.  6. 

Greek  civilization,  the,  in  the  "Masque  of  Learn 
ing,"  ii,  227;  —  group,  a  (Boston,  1910),  ii,  267; 

—  Janissaries  in  the  Boston  procession  of  1912, 
ii,  247 ;  —  Testament  given  Elizabeth  at  Sand 
wich,  1573,  i,  205. 

Greeks,  ancient,  attend  the  Arts  (1890),  ii,  126;  — 
v.  Trojans  (Winchester,  1908),  ii,  225  f. 

Greeks  in  the  New  York  Pageant  of  1918,  ii,  252. 

Green  v.  Orange  at  Scarva  (1914),  ii,  186. 

Green,  huntsmen  dressed  in,  at  Worksop  (1603),  i, 
222,  n. i. 

"Green  Dragon  Tavern,  Sons  of  Liberty  meet  at 
the"  (Boston,  1897),  ii,  261. 

Green  Knight,  Earl  of  Warwick  as,  i,  75,  n.  3;  i,  89. 


Green  Park  (London),  ii,  162. 

" Greenhill  Bower,"  i,  9;  i,  10;  i,  47;  i,  48,  n.  2;ii, 
148  f.;  ii,  192. 

"Green  man,"  i,  40,  n.  5;  i,  72  ff.;  in  1617,  ii,  37, 
n.  5 ;  —  (Adrianople,  1 7 1 7) ,  ii,  87 ;  —  an  inn-sign, 
i,  69;  i,  77,  n.  i ;  —  see  also  Wild-man,  devil,  and 
forester. 

"Green-men"  at  London  (1553),  i,  74,  n.  2;  ii,  14; 
(1602),  ii,  27,  n.  4;  ii,  28;  (1629)^,40;  (1635), 
ii,  42;  (1686),  i,  74,  n.  2;  ii,  63,  n.  6;  ii,  85; 
(1687),  i,  74,  n.  2;  ii,  63,  n.  8;  ii,  85,  n.  2;  —at 
the  mayor's  feast  in  "Promos  and  Cassandra," 
i,  72;  —  with  fireworks,  i,  72;  i,  73,  n.  i;  i,  229; 

—  connected  with  the  "wild-man,"  i,   72;  — 
resembling  the  "wild-man"  (Chester,  1610),  i, 
73,  n.  i;  i,  229. 

Greens  on  the  Brewers'  car  (Ripon,  1886),  ii,  160. 

Greensboro,  "Mother  Goose"  pageant  at,  ii,  253, 
n-5- 

Greenwich,  i,  116;  i,  154,  n.  2;  i,  161;  i,  173,  n.  4; 
i,  181;  i,  184;  i,  185,  n.  3;  i,  203;  i,  214;  i,  227; 
i,  255;  —  pageantic  jousts  at,  i,  116;  —  Anne 
Boleyn  escorted  from  (1533),  ii,  10. 

Greenwich  (London,  1662),  i,  249. 

Greenyard,  the,  ii,  92; — given  as  workrooms  for 
pageants  (1633  and  1634),  ii,  41;  —  no  pageants 
to  be  made  in  (1635),  ii,  42. 

Greeting,  a  message  of,  from  Sherborn  (Massa 
chusetts)  read  at  the  Sherborne  Pageant,  ii,  211. 

Gregory  (Boston,  1897),  ii,  260,  n.  3. 

Grendel,  i,  54,  n.  3. 

Gresham,  Sir  John  (London,  1889),  ii,  125;  — 
(London,  1895),  ii,  127. 

Gresham,  Sir  Richard  (London,  1906),  ii,  132. 

Gresham,  Thomas  (London,  1783),  ii,  100;  —  (Lon 
don,  1907),  ii,  134. 

Gresham  College,  workshop  in,  or  near,  for  1617 
pageants,  ii,  37;  —  workshop  in,  for  1659  pag 
eants,  ii,  47 ;  —  workshop  under  gallery  of,  for 
1662  pageants,  ii,  48,  n.  5. 

Gresham  Street  (London),  ii,  114;  ii,  115,  n.  2. 

Greville,  Master  Fulke,  in  a  tilt,  (1581),  i,  213. 

Grey,  Lady  Jane  (London,  1914),  ii,  147,  n.  2. 

Grey  Horse  Inn,  scene  at  the,  at  Marblehead  (1912) 
ii,  278. 

Greyhounds  of  lead  (London,  1501),  i,  168. 

Griffin,  Mr.,  a  preacher  at  Warwick  (1572),  i,  205, 
n.  2. 

Grimston,  revels  at  (1884),  ii,  159;  ii,  208. 

Grinkin  [John]  prepares  pageants  (1611),  ii,  31;  — 
makes  pageants  (1613),  ii,  35,  n.  3. 

de  Grise,  Jehan,  illuminations  of,  showing  animal 
head-dresses  (1344),  i,  102,  n.  i. 

Grocers,  Jordan  writes  two  shows  for  (1672  and 
1673),  ii,  52  f.;  —  and  funeral  of  Henry  V,  ii,  6; 

—  connected  with  Diogenes  (1681),  ii,  83;  —  ex 
penses  at  Sheriffs'  ridings  (1427-32),  ii,  7;  —  ex 
penses  of,  on  vigil  of  St.  John  the  Baptist  (1386), 
i,  38 ;  —  hire  of  boats  to  accompany  mayor  and 


INDEX 


sheriffs,  ii,  6  and  n.  4;  ii,  7;  ii,  8,  n.  i; —  lend 
their  barge  to  the  Goldsmiths  (1643),  ii,  43;  — 
pageant  (London,  1392),  i,  131;  —  pageant  of 
Norwich  used  on  a  civic  occasion,  ii,  19;  — pag 
eants  prepared  by  Jarman  (1659),  ii,47;  —  "Par 
adise"  or  "tree,"  of  Norwich,  i,  19,  n.  8;  i, 
35;  —  records  show  facilities  given  pageant- 
makers,  ii,  33,  n.  i;  —  represented  by  Aroma- 
tot 'ia  (1684),  ii,  62;  —  to  make  their  shows  "on 
the  bankside  of  Gresham  College"  (1617),  ii,  37; 
—  trade  linked  with  mythology  (1692),  ii,  73;  — 
trade-pageant  (1622),  ii,  75; — trade-pageant 
(1901),  ii,  128  f.,  and  n.  3. 

Grocers  (London,  1783),  ii,  99. 

"Groote  Ommeganck,"  the,  i,  24,  n.  2;  i,  55,  n. 
2;  —  animals  in,  i,  64,  n.  4;  —  in  1803, i,  254. 

Grosley,  Pierre  Jean,  on  civic  giants,  (1765),  i,  62. 

Grosseteste's  "castle  of  love,"  i,  80. 

Grotesque  boy-dogs  (Ripon,  1886),  ii,  159. 

"Grotesques"  in  the  St.  Louis  procession  of  1847, 
ii,  238. 

"Grotto,"  unfinished,  at  Metz  (1604),  i,  226. 

Growth  of  allegory,  i,  108. 

Growth  of  the  Masque,  ch,  ii.  §  3,  (i,  in  f.) 

Growth  of  "royal  -entry  "before  the  days  of  Eliza 
beth  reviewed,  i,  195  f. 

Gruthuse,  Lord,  received  by  Edward  IV,  i,  in, 
n.  9;  i,  112. 

Gryphons  (Stuttgart,  1617),  i,  234;  —  (London, 
1672  and  1673),  ii,  53. 

Gualteri,  Cardinal,  effigy  of,  planned  for  the  1711 
Pope-burning,  ii,  175,  n.  3. 

Guides  for  the  1629  pageant,  ii,  41. 

Guiennc  (London,  1509),  i,  170. 

"Guild  Day,"  Procession  of,  at  Norwich,  i,  28. 

Guild  expenses  at  Chester  Midsummer  Shows,  i, 
43  ff.,  and  notes;  —  for  the  watch,  i,  38  ff.,  and 
notes. 

Guildford,  Christmas  at  (1347),  i,  102,  n.  i. 

Guildhall  —  see  passim. 

Guildhall,  history  of  the,  sketched  in  a  Times  edi 
torial  (1914),  ii,  139  f- 

"Guild  Merchant,  the,"  at  Preston,  i,  34,  and 
notes;  ii,  164,  and  notes  5  and  6;  ii,  165,  and 
notes  i  and  2. 

Guilds  act  at  Dublin  (1528),  i,  179;  —  and  City  of 
London  Institute,  emblematical  car  of  (1891),  ii, 
126;  —  of  Corpus  Christi,  i,  19,  n.  8:  [York 
Leicester,  Bristol,  and  Ipswich];  —  of  London 
often  called  on  to  meet  sovereigns,  i,  150,  n.  5; 
i,  154  f.,  —  civic  shows  of,  ch.  vi,  passim. 

Guillaume  le  Berger  [acts  the  part  of  St.  Francis?], 
(Paris,  1431),  i,  138,  n.  4. 

de  Grise,  Jehan,  i,  102,  n.  i. 

de  Guise,  Monsieur,  i,  98. 

Gunivado  of  Norway  (London,  1522),  i,  177. 

Gurgunt  (Norwich,  1578),  i,  79;  i,  81;  i,  158,  n.  3; 
i,  210;  ii,  281. 

Gustus  (London,  1613),  ii,  34. 


Guy  Fawkes,  i,  10;  —  day  of  (1919),  ii,  179. 
"Guy  Fawkes"  —  mumming  plus  history,  ii,  148. 
Guyloin  of  North  Wales  (London,  1522),  i,  177. 
Guyon,  Sir  (London,  1908),  ii,  135. 
Gwar  (Warwick,  1906),  ii,  218. 
Gwendolen,  daughter  of  Corineus,  i,  78,  n.  i. 
Gwyddyr  (Colchester,  1909),  ii,  217,  n.  3. 
Gypsies  at  Knutsford  (1913),  ii,  153. 

Haberdashers,  the,  in  the  1902  Show,  ii,  129;  — 

barge  of,  at  Anne  Boleyn's  entry,  ii,  10;  —  repre 
sented  by  Minutaria  (1684),  ii,  62. 
Haberdashers  (London,  1783),  ii,  99. 
Hackett,  Alderman,  on  a  committee  to  view  pag 
eants  (1626),  i,  235. 
Hadrian  (Ripon,  1886),  ii,  160. 
Hadrian's  Wall  in  the  1914  "tournament,"  ii,  190. 
Hagar  allegorically  explained,  i,  80. 
Hague,  the,  subtleties  at  (1746),  i,  83;  —  William 

III  at  (1688),  i,  252. 
Hainault,  chivalric  pageants  at,  i,  94;  —  influence 

from,  on  tournaments,  i,  94  f. 
Halberdiers  in  the  1893  "Bower,"  ii,  150;  —  at 

Ripon  (1886),  ii,  160;  —  in  the  1890  Show,  ii, 

126. 
Hale,  Nathan  (New  Haven,  1916),  ii,  274,  n.  i;  ii, 

275;  —  (New  York  1909),  ii,  243. 
Hales,  John  (Coventry,  1862),  ii,  170,  n.  7. 
"Half-Moon,"  the  (New  York,  1909),  ii,  164,  n.  i; 

ii,  237,  n.  4;  ii,  242,  and  notes  i  and  3. 
"Haliblude  Play,"  the,  at  Aberdeen,  i,  33. 
Halifax,  Lord,  suggests  site  for  the  York  Pageant, 

ii,  200. 
Hall,  Edward,  passages  in  his  history  examined,  i, 

121  f.;    ii,  10; — Jacob,  and  his  troupe  in  the 

1671  Show,  ii,  51,  n.  2;    ii,  84;  —  Richard,  i, 

41,  n.  i. 

Halliday,  Walter  (London,  1008),  ii,  135. 
Hallowe'en,  mumming  at,  in  America,  i,  10,  n.  5; 

ii,  148;  ii,  is8f. 
Halls,  pageants  brought  into,  i,  xix;  chs.  ii  and  iv 

passim. 

Hamburg,  artists'  festival  at  (1852)  ii,  147,  n.  4. 
Hamilton,  Sir  Patrick,  participator  in  a  pageantic 

joust,  i,  96. 
"Hamilton's  Harangue"   (New  York,   1909),  ii, 

243,  and  n.  3. 

Hamlet  (Lichfield,  1909),  ii,  151. 
Hampden,  John  (London,  1889),  ii,  124. 
Hampstead,  Guy  Fawkes  celebration  at,  i,  10. 
Hampton  Court,  i,  247. 
"Hancock,  reception  at  the  mansion  of  Governor" 

(Boston,  1897),  ii,  261. 
Handel,  music  by,  in  the  1783  pantomime,  ii, 

101. 
Handel's  anthem  "God  Save  the  King"  (1761),  ii, 

178,  n.  4. 
Hand-looms,  a  community  industry  suggested  by, 

ii,  265. 


INDEX 


381 


"Hand-squirt"  used  in  the  Great  Fire  of  1666,  in 

the  1892  Show,  ii,  127. 
"Hand-tub"  drawn  by  veteran  firemen  (Boston, 

1912),  ii,  247. 

"Handwerpen,"  the  legend  of,  i,  254,  n.  4. 
Hanoverian  "improvements"  in  folk-play,  i,  7,  n.i. 
Happiness    (Boston,    1908),    ii,    282;  —  (Boston, 

1910),  ii,  266;  —  (London,  1850),  ii,  115;  ii,  116. 
"Harbor  of  Happiness,"  the  (London,  1635),  ii,  42. 
Hardell,  Sir  Richard  (London,  1623),  ii,  78. 
Hardware,  Henry,  Mayor  of  Chester,  i,  44. 
Harland,  Sir  Edward  J.,  pictured  at  Belfast  (1914), 

ii,  181. 

Harold,  (London,  1907),  ii,  133. 
Harper,  Sir  W.,  Mayor  of  London  (1561),  ii,  18; 

ii,  73,  n.  2. 

Harpers  in  the  1561  Show,  ii,  18,  and  n.  2. 
Harris,  Mary  D.,  on  origin  of  the  Godiva  procession, 

ii,  166,  n.  3. 

Harrison,  Stephen,  collaborates  in  the  1604  "en 
try,"  i,  222  f.,  and  notes. 
Hart,  Mr.,  makes  a  suggestion  regarding  the  1879 

Show,  ii,  120. 
Harvard  Stadium,  the,  ii,  289;  —  Union,  the,  ii, 

287 ;  —  University,  masque  for  Professor  Du- 

quesne  at,  ii,  287 ;  —  pageant  of  Hollis  Hall  at,  ii, 

272. 
Harvest  group,  a,  symbolizing  the  prosperity  of  the 

town  (Ripon,  1886),  ii,  161;  —  Queen,  in  Grim- 

ston  revels,  ii,  159. 

Harvest  painted  (London,  1661),  i,  246. 
"Harvest  of  the  Peacemaker,"  the,  (1907)  ii,  134. 
Harvest  Wain  in  Grimston  revels  (1884),  ii,  159;  — 

with  the  Continents  (London,  1919),  ii,  141. 
"Harvesting"  (New  York,  1909),  ii,  244,  n.  i. 
Harvey,  Sir  Sebastian,  Mayor  of  London  (1618), 

ii,  38. 
Harwood,  Thomas,  his  account  of  the  origin  of  the 

"  Bower,"  ii,  149. 
Haslett,  Sir  James,  pictured  at  Belfast  (1914),  ii, 

181. 

Hasselt,  giants  at,  i,  55,  n.  2. 
Hastiludia,  i,  86. 

Hatfield  House,  a  "disguising"  at  (1556),  i,  198. 
Hault,   Jaques,   appointed   to   devise  disguisings 

(1501),  i,  113. 
Havelock,  i,  53,  n.  i. 
Haverfield,  Col.,  refers  request  for  troops  to  Peel 

(1822),  ii,  107. 

Hawking  Party  of  1200  (1889),  ii,  124. 
Hawkwood,  Sir  John  (London,  1680),  ii,  79,  and 

n.  7;  —  (London,  1693),  ii,  80. 
Hawthornden,  Drummond  of,  wrote  speeches  for 

the  1633  "entry,"  i,  237,  n.  i. 
Hawtrey,  G.  P.,  his  remarks  on  the  chorus  of  the 

Gloucestershire  Pageant,  ii,  216,  n.  i; — on  the 

site  of  the  Gloucestershire  Pageant,  ii,  199  f. 
Hay,  John,  greets  James  I  at  Edinburgh  (1617),  i, 

234,11.3. 


Hayes,  artificer  of  the  1689  Show,  ii,  64,  n.  5. 
Hayes,  Sir  Thomas,  Mayor  of  London  (1614),  ii, 

36,  n.  4. 

Hayne,  John,  "qualified"  to  sing  (1809),  ii,  104. 
Hayward,  Mrs.  R.  P.,  director  of  the  Keene  Pag 
eant,  ii,  271,  n.  2. 
Hazard,  Professor,  on  giants  of  Northern  France, 

i,  55,  n-  2. 
Headsman,  symbolical  figure  of  a  (London,  1907), 

ii,  134- 
Heathcote,  Sir  Gilbert,  Mayor  of  London  (1711), 

ii,  86;  —  the  reported  original  of  Sir  Andrew 

Freeport,  ii,  86,  n.  2. 

Heathwaite,  "Giants'  Graves"  at,  i,  51,  n.  3. 
Hearty  Gladness  (London,  1533),  i,  183. 
Heavenly  Jerusalem  (London,  1445),  i,  148. 
Heaven,  a  (London,  1501),  i,  167,  n.  6; — (London, 

1547),  i,  186. 
Hector  (Coventry,  1456),  i,  150;  —  (Paris,  1431), 

i,  138,  n.  4;  — (Stuttgart,  1609),  i,  99; — and 

see  Nine  Worthies. 

Heidelberg,  a  triumphal  arch  at  (1672),  i,  251. 
"Helicon,  the  Fountain  of"  (London,  1533),  i,  182, 

n.  5. 

Helium  (Mount  Holyoke,  1912),  ii,  286. 
"Hell,"  at  Antwerp,  i,  255. 
"Help  your  Country"  (New  York,  1918),  ii,  252. 
Hely,  father  of  Lud,  i,  78,  n.  i. 
Heming  and  Dekker  collaborate  in  1612,  ii,  31  f. 
Henderson,  Sir  James,  pictured  at  Belfast  (1914), 

ii,  181. 

Hengist-bury  head,  i,  51,  n.  3. 
Henley,  his  account  of  the  show  mentioned,  ii,  86, 

n.  i;  ii,  89. 

Henri  II  at  Paris  (1549),  i,  187. 
Henri  IV  at  Metz  (1604),  i,  226. 
Henri  IV  (Quebec,  1908),  ii,  263. 
Henri  V  (Avignon,  1600),  i,  220;  ii,  215,  n.  3. 
Henrietta  Maria  (Dover,  1908),  ii,  205. 
Henry  III  (London,  1628),  ii,  39. 
Henry  IV  at  London  (1399),  i,  132;  —  an  attempt 

on  (1400),  i,  104. 
Henry  IV  (Coventry,   1862),  ii,   170;  —  and  his 

Queen  (Ripon,  1886),  ii,  161. 
Henry  V  returns  from  Agincourt  (1415),  i,  132  f.; 

—  returns  to  London  with  Katherine  (1421),  i, 

!37  f-;  —  death  of,  ii,  5  f. 
Henry  V  (Cardiff,  1909),  ii,  199,  n.  i;  —  return 

from  Agincourt  of  (London,  i9io),ii,  136. 
"Henry  V"  in  the  Dover  Pageant,  ii,  219. 
Henry  VI  expresses  gratitude  for  the  1432  Show, 

i,  148;  — at  Paris  (1431),  i,  76;  i,82;  i,  138  f.;  — 

jousts  at  Paris  in  honor  of,  i,  96. 
Henry  VI  (Coventry,  1848),  ii,  170;  —  (Coventry, 

1862),  ii,  170;  —  (London,  1522),  i,  178; — repre 
sented  to  greet  the  real  Henry  VI  (Paris,  1431), 

i,  140;  —  (Worcester,  1486),  i,  159,  n.  4. 
"Henry  VI"  in  the  Gloucestershire  and  Bury  St. 

Edmunds  Pageants,  ii,  219. 


382 


INDEX 


Henry  VII  at  Bristol  (1486),  i,  160;  —  at  Claren 
don  (1496),  i,  162;  —  coronation  tournament  of, 
i,  96;  —  at  Gloucester  (1486),  i,  160;  —  at  Here 
ford  (1486),  i,  159;  —  at  London  and  in  the 
provinces  (1485-1486),  i,  157  f.;  —  at  London, 
i,  154;  —  at  Salisbury  (1496),  i,  162;  —  at 
Worcester  (1486),  i,  159. 

Henry  VII  (Bath,  1909),  ii,  226,  n.  i;  —  (Cardiff, 
1909),  ii,  199,  n.  i;  —  (London,  1559),  i,  200;  — 
(London,  1660),  ii,  81. 

Henry  VIII  at  London  (1509),  i,  169  f.;  —  at  the 
"Midsummer  Watch"  (1510),  i,  39,  n.  i;  —  and 
Katherine  at  Coventry  (1511),  i,  170;  —  at  Lon 
don  (1522),  i,  79;  —  dances  at  a  masque  with 
pageantic  background  (1528),  i,  117;  —  gives  a 
masquerade  for  Charles  V  (1522),  i,  121;  — 
pageantic  jousts  of,  i,  ii5f.; —  and  the  pag 
eantic  tournament,  i,  97  f.;  —  sees  pageantic 
representation  of  himself  (1522),  i,  177;  i,  178;  — 
writes  the  citizens  concerning  Anne's  entry,  ii, 
10;  —  welcomes  Charles  V  to  London  (1522), 
i,  175  ff. 

Henry  VIII  (Coventry,  1862),  ii,  170;  —  (Lich- 
field,  1893),  ii,  150;  — (London,  1522),  i,  177; 
i,  178;  —  a  "Worthy"  (London,  1554),  i,  80;  i, 
191  f.;  —  (London,  1559),  i,  200;  —  (London, 
1910),  ii,  136;  —  (Oxford,  1907),  ii,  223;  — 
(Winchester,  1008),  ii,  225. 

"Henry  VIII"  produced  on  pageantic  lines,  ii,  209; 
ii,  229. 

Henry,  Prince,  at  Chester  (1610),  i,  229  f.;  — 
christened  at  Edinburgh  (1594),  i,  218  f.;  — 
with  James  I  and  Christian  IV,  at  London 
(1606),  i,  227;  —  at  London  (1610),  i,  230  f. 

Henry  of  Navarre  (London,  1908),  ii,  135. 

Henryson,  Robert,  surgeon,  i,  212. 

Her  Majesty's  Revels,  a  child  of,  takes  the  part  of 
Thames  in  1604,  i,  224. 

Heraclius  (Bruges,  1515),  i,  172. 

Herald,  a  (Providence,  1919),  ii,  289;  —  in  the 
Sherborne  Pageant  (1905),  ii,  211;  — 1912 
tournament  proclaimed  by  a,  ii,  185  f. 

Herald  of  Peace,  the  (London,  1919),  ii,  141. 

Heraldic  animals,  ii,  72,  and  n.  2. 

Heraldry,  influence  of,  on  "royal- entry"  and  mas 
que,  i,  121;  —  in  pageantic  animals,  i,  196. 

Heralds  (Coventry,  1862),  ii,  170;  —  (Knutsford, 
1913),  ii,  154;  —  lead  the  pageantic  interlude  of 
1908,  ii,  135;  —  of  the  Four  Realms  (London, 
1890),  ii,  126;  —  of  Britannia  (London,  1910), 
ii,  189;  —  (Quebec,  1908),  ii,  240;  ii,  241;  — 
(Ripon,  1886),  ii,  160. 

Herbert,  Francis,  bailiff,  at  Dublin  (1528),  i,  179; 
—  Lady  Muriel,  patriotic  scene  in  a  children's 
festival  arranged  by  (1914),  ii,  228,  n.  3. 

Hercules,  i,  54. 

Herculcs(Bruges,  1468),  i,  152;  —  (London,  1522), 
i,  56;  i,  58,  n.  i;  i,  176;  i,  195;  —  (London, 
1621),  ii,  73;  ii,  79,  n.  5. 


Herd,  Harry,  part  purchaser  of  saints'  images 
(1509-10),  i,  57,  n.  2. 

Hereford,  Henry  VTI  at  (1486),  i,  159;  —  Palm 
Sunday  at,  i,  15,  n.  i ;  —  tableaux  at,  i,  23. 

Heresy  symbolized  by  gunpowder  (Edinburgh, 
1680),  ii,  174. 

Hermit,  a,  at  Valenciennes,  (1330),  i,  94. 

Herod  at  Coventry,  i,  20,  n.  3;  i,  23. 

Heroes,  gigantic,  i,  51,  n.  3. 

"Heroes  of  '76,  the"  (St.  Louis,  1886),  ii,  253,  n.  4. 

"Heroic  Dead,  the  Court  of  the"  (New  York, 
1919),  ii,  256. 

Herrick,  Robert  (London,  1908),  ii,  135. 

Hertford,  Earl  of,  entertains  Elizabeth  at  Elve- 
tham  (1591),  i,  216  f. 

Hertford,  Earl  of  (London,  1907),  ii,  134. 

Hereford,  Lydgate's  disguising  at,  i,  107;  —  Pag 
eant,  the  (1914),  ii,  221,  n.  3;  ii,  224,  n.  7;  ii,  228. 

Hesse,  Landgrave  of,  tilt  at  court  of  (1596),  i,  219. 

Hestia  (Edinburgh,  1908),  ii,  223. 

Heysham,  Theodore,  on  the  purpose  of  the  pag 
eant,  ii,  249,  n.  i. 

Heywood,  John,  characterization  in  the  inter 
ludes  of,  ii,  213;  —  in  a  pageant  (1553),  i,  189, 
andn.  i. 

Heywood,  Thomas,  and  John  Christmas  get  the 
1635  contract,  ii,  42;  —  on  the  "drolls,"  ii,  84  f. 

Heywood's  "Londini  Emporia"  (1633),  ii,  41, 
n.  6;  —  "Londini  Sinus  Salutis"  (1635),  ii,  29; 
ii,  42,  n.  5;  —  "Londini  Status  Pacatus"  (1639), 

ii,  43- 

"Hiawatha,"  scenes  from,  in  the  Hudson-Fulton 
Pageant,  ii,  243. 

Hibberd,  "Boosey,"  i,  70,  n.  i. 

Hickathrift,  i,  53,  n.  i. 

Hicks,  Sir  Baptist,  ancestor  of  Granby,  ii,  125. 

"High  Constable  of  Cotsholde,"  i,  218,  and  n.  3. 

High  Cross,  the  (Bristol),  i,  206; — (Chester),  i,  162. 

High  Street  (Edinburgh),  i,  236;  i,  237;  —  (Leices 
ter),  i,  256. 

Highland  Chiefs  (Edinburgh,  1832),  ii,  166. 

Highland  Societies,  in  costume  (Edinburgh,  1832), 
ii,  166. 

High  Priest,  a,  represents  Religion  (Norristown, 
1912),  ii,  250. 

Hill,  Mr.,  Ironmonger,  paid  for  a  frame  of  timber 
(1566),  ii,  21. 

"Hill,"  or  "Mountain,"  a,  a  pageant  in  a  wedding 
masque  (1501),  i,  114. 

Hill-men  (London,  1893),  ii,  188. 

Himatia  (London,  1614),  ii,  36. 

Hippocrene  —  see  Hypocrene. 

Hippolyta  (Paris,  1431),  i,  138,  n.  4. 

Hippolyte,  Cardinal,  Archbishop  of  Avignon  (Avig 
non,  1600),  i,  220. 

Hispania  (London,  1691),  i,  82,  n.  2;  ii,  75. 

"Historic  Festival"  (Plymouth,  1896),  ii,  258!. 

Historical  accuracy  emphasized  in  the  1908  Show, 
ii,  135,  n.  i. 


INDEX 


383 


Historical  characters,  i,  xvi;  —  in  pageants,  i, 
78  ff.,  and  chapters  iii,  vi,  viii,  passim;  —  con 
spicuous  by  their  absence  (Boston,  1910),  ii, 
267;  —  faced  by  their  pageantic  representatives, 
(Antwerp,  1803),  i,  254;  — (London,  1522),  i, 
177;  i,  178;  —  (London,  1547),  i,  186;  —  (Lon 
don,  1554),  i,  194;  — (London,  1559),  i,  2,00;- 
(London,  1661),  i,  243,  n.  i;  i,  245;  —  (Paris, 
1431),  i,  140,  and  n.  4;  —  with  fictional,  at 
Marblehead,  ii,  278;  ii,  279,  n.  2;  —  in  street 
procession  (Quebec,  1908),  ii,  241. 

Historical  element  in  French  "feux  d'artifice,"  i, 
240  f.;  —  in  the  Mount  Holyoke  "pageant,"  ii, 
286;  —  in  the  Peterborough  Pageant,  ii,  264  f.. 

Historical  events  shown  in  "The  Cayuga  Indian 
Feast,"  ii,  283;  —  in  modern  pageants,  ch.  viii, 
ch.  ix,  passim. 

Historical  groups  in  the  Hudson-Fulton  Pageant, 
ii,  243  f.;  —  "living  picture"  in  the  1891  Show, 
ii,  126. 

"Historical  pageant"  in  1906,  ii,  132;  —  at  Norris- 
town  (1912),  ii,  248  f. 

Historical  pamphlet  published  in  connection  with 
the  1884  Show,  ii,  122,  and  n.  2. 

Historical  procession  at  Brussels  (1853),  i,  256;  — 
at  Ripon  (1886),  ii,  160. 

Historical  processions  on  the  Continent,  ii,  163  f.; 

—  scenes  at  Lancaster  (1912),  ii,  264;  —  at  Yale 
(1901),  ii,  262. 

Historical  spectacle, an, in  the  1914  "Tournament," 
ii,  189. 

History,  i,  xvi,  xvii;  —  and  allegory  in  the  "royal- 
entry,"  ii,  79,  n.  2;  —  and  allegory  in  the  Boston 
(1880)  procession  ii,  239;  —  and  allegory  sepa 
rated  in  the  St.  Louis  Pageant  and  Masque,  ii, 
273;  —  and  allegory  combined,  ii,  25;  ii,  78  f.;  — 
in  the  Boston  Normal  School  Pageant,  ii,  282  f.; 

—  civic,  in  1611,  ii,  31;  —  in  civic  shows  pre 
pares  the  way  for  the  Parkerian  pageant,  ii, 
128;  —  change   in   emphasis   of,   in   the   Lord 
Mayor's  Shows,  ii,  132;  11,141;  ii,  142;  —  in  the 
Charterhouse  "masque"  (1911),  ii,  227;  —  and 
comedy  combined,  ii,   219  f.;  —  in  Compiegne 
festival,  ii,  187,  and  n.  i ;  —  of  contemporary 
Europe  echoed  at  Boston  in  1912,  ii,  247;  — 
emphasis  on,  in  the  1884  Show,  ii,   i22f.;  — 
and  fairy-tales  combined  in  a  children's  "festi 
val"  (London,  1914),  ii,  228,  and  notes  2  and  3; 

—  foreign,  in  the  Hudson-Fulton  Pageant,  ii, 
244,  n.  i;  —  in  the  Hollis  Hall  Pageant,  ii,  272; 
ii,  273;  —  an  important  element  in  pageantry,  ii, 
295;  —  inaccurate,  in  the  Warwick  (Massachu 
setts)  Pageant,  ii,  280;  —  Irish,  given  in  New 
York  (1913),  ii,  272;  —  in  the  Keene  Pageant 
(1913),  ii,  271;  —  linked  with  Biblical  material 
(Bruges,    1515),  i,    172  f.;  —  linked  with  pro- 
ganda  (Boston,  1912),  ii,  246;  —  and  literature 
in   early  xx   century   Shows,  ii,  136;  —  in  the 
Liverpool  Pageant  of  1907,  ii,   163;  —  in  the 


Marietta  Pageant,  ii,  258,  and  n.  3;  —  from 
Malcolm  III  to  1745  and  from  James  I  to  George 
II,  shown  at  Edinburgh,  (1908)  ii,  214;  —  in  the 
military  "tournaments"  at  London,  ii,  187  f.;  — 
in  the  modern  pageant,  ch.  viii,  passim;  esp.  ii, 
217  f.;  —  and  the  morality  element,  ii,  79;  — 
in  Munday's  Show  for  1605,  ii,  29;  ii,  81;  — 
mythology,  and  allegory  in  the  1904  Show,  ii, 
130;  —  and  mythology  combined  (1621),  ii,  79, 
n.  5;  —  mythology,  and  symbolism  (1626),  ii, 
78,  n.  4;  —  in  the  older  and  more  modern  pag 
eant,  ii,  213;  —  at  Norristown  (1912),  ii,  248  f.; 

—  in  the  Orange  processions,  ii,  i8if.;  —  in  a 
pantomime  on  the  "Lord  Mayor's  Show"  (1783), 
ii,  98  f.;  —  in  a  parade  at  Philadelphia  (1908), 
ii,  241,  n.  6;  —  of  the  present  personified  in  the 
1914  Show,  ii,  142,  n.  2;  —  personified  by  the 
troops  welcomed  at  New  York,  (1919),  ii,  256;  — 
and  personification  of  cities,  i,  158;  —  replaces 
the  civic  element  in  the  Coventry  procession,  ii, 
168;  ii,  169,  n.  2;  —  revived  at  Plymouth  (1801), 
ii,  236  f.;  —  in  the  Rhode  Island  Normal  School 
"festival"  of  1919,  ii,  289;  —  in  the  "ritual"  of 
citizenship,  ii,  290;  —  in  "royal-entries,"  ii,  79, 
n.  4;  —  at  Scarva,  ii,  186;  —  in  the  1889  Show, 
ii,  123  f.;  —  in  the  1895  Show,  ii,  127  f.;  —  in 
the  1896  Show,  ii,   128;  —  and  symbolism  in 
masque  and  pageant,  ii,  288;  —  and  symbolism 
combined  (Boston,  1910),  ii,  267;  —  and  sym 
bolism  in   Vermont  pageants,  ii,   270;  —  sug 
gested  in   1804,   ii,   103;  —  suggestions  of,   in 
Brooklyn  mumming,  ii,  158;  —  symbolism  and 
allegory  in  a  "masque"  (1912),  ii,  226  f.,  and 
n.  4;  —  with  a  touch  of  "futurism"  (Avignon, 
1600),  i,  220;   ii,  215,  n.  3;  —  in  the  Taunton 
Pageant  (1911),  ii,  269;  —  and  trade  combined 
(Boston,  1912),  ii,  246,  and  n.  4;    ii,  247;  — 
and  trade  combined  (Norristown,  1912),  ii,  249; 

—  and  trade  (Ripon,  1886),  ii,  161 ;  —  and  trade 
combined,  in  the   1885   Show,  ii,   123;  —  and 
trade  combined  in  the  1889  Show,  ii,  124;  —  and 
trade  in  1902,  ii,  129;  —  and  trade,  remarks  on 
the  combination  of,  ii,  130;  —  "typical"  (Bos 
ton,  1910),  ii,  268;  —  value  of,  in  the  civic  shows 
ii,  137  f.;  —  the,  of  the  Knutsford  festival,  ii, 
153;  ii,  154,  n.  4;  —  in  the  Veiled  Prophet  pro 
cession,  ii,  253,  notes;  —  in  the  Yale  Pageant 
(1916),  ii,  274,  and  n.  i. 

History  (Boston,  1908),  ii,  282. 

Histrionic  ability  and  the  modern  pageant,  ii, 
208. 

Hoare,  Richard,  his  account  of  the  1740  Show,  ii, 
92. 

Hob  (Dover,  1908),  ii,  219  f. 

Hobby-horse,  i,  7,  n.  i;  —  origin  of,  i,  24,  n.  2;  — 
revived  at  Grimston  (1884),  ii,  159;  —  (Hertford, 
1914),  ii,  224,  n.  7;  — (Ripon,  1886),  ii,  159;  — 
in  the  "historical  procession  "at  Ripon,  ii,  160; 

—  at  Salisbury,  {,65. 


384 


INDEX 


Hobby-horses,  i,  65,  and  n.  i;  —  (Bath,  1909),  ii, 
224,  n.  7;  —  at  Chester,  i,  45,  and  n.  5;  —  (Ches 
ter,  1910),  ii,  224;  —  in  the  Gloucestershire  Pag 
eant  (1908),  i,  218,  n.  i. 

Hob-Nob  at  Salisbury,  i,  65;  i,  70,  n.  i;  i,  162. 

Hock-day  —  see  Hoke-day. 

Hockey,  origin  of,  i,  6,  n.  i. 

"Hodening,"  $,65. 

Hogarth,  mayor's  coach  pictured  by,  ii,  86,  n.  4. 

Hoggin-green  (Dublin),  i,  179. 

Hogmanay  night,  i,  6,  n.  3. 

Hoke-day  at  Worcester,  i,  33. 

Hoke-Tuesday,  Coventry  play  of,  presented  at 
Kenilworth,  (1575),  i,  208,  and  n.  7. 

Holland,  Duke  of,  at  London  (1416),  i,  137. 

Holliday,  Sir  Leonard,  Mayor  of  London  (1605), 
ii,  28;  ii,  29;  —  receives  James  I  and  Christian 
IV  at  London  (1606),  i,  227. 

HollisHall,  the  Pageant  of  (1913),  ii,  227;  ii,  272  f.; 
ii,  281;  ii,  286;  ii,  295. 

Holmby,  giants  at,  i,  60,  n.  3. 

Holmes,  owner  of  Chester  Midsummer  "models," 
i,46,n.3. 

Holofernes  (Edinburgh,  1503),  i,  169. 

"Holy  City,  the"  (Norristown,  1912),  ii,  250. 

Holy  Family  with  mummers,  i,  17. 

"Holy  Mary,"  i,  17. 

Holy  Thursday,  perambulations  before,  i,  14. 

Holyrood  House,  Abbot  of,  as  an  Amazon  in  a  tilt 
(1594),  i,  218,  n.  7;  — (Edinburgh),  i,  213;  i, 

215- 

H ombre  Sahagio  (Kenilworth,  1575),  i,  208;  —  of 
Kenilworth  recalled  at  Bisham,  i,  217. 

Hommes  sauvages  (Paris,  1431),  i,  76;  i,  139,  and 
n.  5. 

Hone,  William,  on  the  Palm  Sunday  ass,  i,  15;  — 
and  the  cabman's  oath,  i,  61 ;  —  on  contemporary 
shows  (1823),  ii,  94,  n.  i. 

Honor  (London,  1501),  i,  168,  and  n.  3,  —  (Lon 
don,  1591),  ii,  26;  ii,  77;  —  (London,  1623),  ii, 
78;  ii,  79;  —  (London,  1626),  ii,  78,  n.  4;  — 
(London,  1628),  ii,  39;  —  (London,  1662),  i,  248; 
—  (London,  1684),  ii,  62;  —  (London,  1685),  ii, 

63- 

Honor  of  Kyng  (London,  1432),  i,  146. 

Honor,  Nine  Children  of  (London,  1509),  i,  170. 

"Hooden,"  at  Salisbury,  i,  65. 

Hooker,  B.,  on  the  Civil  War  episode  in  the  Yale 
Pageant,  ii,  275. 

Hooper,  John  [Bishop  of  Gloucester  and  Worcester] 
(London,  1907),  ii,  134. 

Hope  (Brussels,  1559),  i,  195,  n.  i;  —  (Colchester, 
1909),  ii,  214;  —  (London,  1501),  i,  168;  — 
(London,  1591),  ii,  26;  ii,  77;  —  (London,  1616), 
i,  234;  —  (London,  1618),  ii,  38;  —  (London, 
1662),  i,  248;  —  (Norristown,  1912),  ii,  250;  — 
(Washington,  1913),  ii,  285;  —  (Washington, 
1914),  ii,  255;  — (York,  1909),  ii,  214,  n.  i;  — 
and  Desire  in  a  wedding  masque  (1501),  i,  114. 


Horn,  i,  53,  n.  i. 

Horn-blower  in  a  chariot  (Ripon,  1886),  ii,  160. 
Horn  Dance  at  Abbot's  Bromley,  ii,  162,  n.  i. 
"Horribles,"  processions  of,  in  Canada,  ii,  252. 
Horses  disguised  as  beasts  by  mummers  at  Lille,  i, 

75,  n.  4;  —  mechanical,  at  Rouen,  i,  98'  —  at 

Naples  (1443),  i,  147,  n.  2. 
Horton  (Peterborough,  1910),  ii,  264. 
"Hortus  Euporiae"  (London,  1604),  i,  225. 
Hostility  (London,  1618),  ii,  38. 
Hour,  an  (London,  1677),  ii,  74;  ii,  191. 
Hours  (Elvetham,  1591),  i,  216;    i,  217,  n.  i;  — 

Three  (London,  1604),  i,  224;  —  twelve  children 

represent  the   (Stuttgart,   1617),  i,   234;  —  the 

Golden  (Edinburgh,  1908),  ii,  223. 
House  of  Unity,  the,  in  "Piers  Plowman,"  i,  no. 
"How  not  to  do  it,"  ii,  279  f. 
Howard,  Lord,  of  Effingham,  entertainment  of 

Elizabeth  by,  in  the  Chelsea  Pageant  (1908),  i, 

218,  n.  i. 
Howe,  F.  E.,  stage-manager  of  the  Keene  Pageant, 

ii,  271,  n.  2. 
Howey,  Miss,  in  prison  dress,  in  a  suffragettes' 

parade  (London,  1910),  ii,  255,  n.  2. 
Howman,  Richard,  paid  for  pageant  of  the  Assump 
tion  (1522),  i,  175. 
Hox-Tuesday  —  see  Hoke-Tuesday. 
Hoyden  in  a  1671  "interlude,"  ii,  51,  ii,  76. 
Hudibras,  the  father  of  Bladud,  i,  78,  n.  i. 
Hudson  Bay  Trader  (London,  1905),  ii,  131. 
Hudson^Fulton  dragon,  the  (1909),!,  161,  n.  4;  — 

Pageant,  the,  at  New  York  (1909),  ii,  242  f. 
Hudson,  G.,  on  the  commemorative  services  held 

in  connection  with  pageants,  ii,  212,  n.  i;  —  on 

the  social  objects  of  the  modern  pageant,  ii, 

203  f.;  —  on  the  value  of  accuracy  in  details,  ii, 

201,  n.  2. 

Hudson,  Hendrik  (St.  Louis,  1886),  ii,  253,  n.  4. 
"Huguenots,    the,    receiving    their    title-deeds" 

(New  York,  1909),  ii,  243. 
Hull,  ship  processions  at,  i,  n,  n.  4. 
Human  sacrifices,  i,  6;  i,  50,  and  n.  4. 
Humanity   (Paris,    1498),  i,   162;  —  (Providence, 

1919),  ii,  289. 
Humanum  Genus  in  the  "Castle  of  Perseverance," 

i,  no. 
Humber  (London,  1605),  ii,  29;  ii,  75;  —  (London, 

1628),  ii,  39. 
Hume,  Sam,  i,  121. 

Humor  (New  York,  1909),  ii,  244,  n.  i. 
"Humorous  and  comical  characters,"  in  the  1893 

"Bower,"  ii,  151. 
Humphries  paid  for  "men  in  armor"  (1823),  ii, 

108. 
"Humpty-Dumpty's     Misfortune"     (St.     Louis, 

1888),  ii,  253,  n.  5. 

Hungarian  group,  a  (Boston,  1910),  ii,  267. 
Hungarians  in  the  New  York  Pageant  of  1918,  ii, 

252. 


INDEX 


385 


Hunnes,  Mr.,  author  of  verses  (1575),  i,  209,  n.  i. 
"Hunting  the  Buffalo"  (St.  Louis,  1886),  ii,  253, 

n.  4. 

Huntsmen  in  green  at  Worksop,  (1603)  i,  222,  n.  i. 
Husee,  John,  writes  to  Lord  Lisle,  i,  41;  i,  42, 

n.  3. 
Hutchinson,  Lieutenant-Governor  (Boston,  1897),  ii, 

261,  n.  i. 

Hutchinson,  Governor,  effigy  of,  at  Boston,  ii,  177. 
Hutchinson,  coach  painter  (1764),  ii,  93. 
Hutchinson,  Michael,  paid  for  mending  Norwich 

dragon,  i,  28,  n.  6. 
Hutton,  Dean,  protests  against  The  Creed  Play  at 

York,  i,  21. 
Hyde,  Edward,  on  the  masque  committee  from  the 

Middle  Temple  (1634),  i,  118. 
Hydra  (London,  1661),  i,  244. 
Hypanis  (Winchester,  1908),  ii,  225. 
Hypomene  (London,  1605),  ii,  29,  n.  2. 

Identity  of  the  individual  kept  subordinate  in 
English  pageants,  ii,  208,  n.  i. 

Idolatry  (Reggio,  1453),  i,  148,  n.  4. 

Ignorance  (London,  1559),  i,  200;  —  (London, 
1612),  ii,  32;  —  (London,  1613),  ii,  34;  —  (Lon 
don,  1591),  ii,  26;  ii,  77;  —  [a  dragon]  (Oxford, 
1907),  ii,  223. 

Illuminations  (1727),  ii,  88,  n.  6; — pageantic, 
remarks  on,  ii,  178  f. 

Illustrations  of  seventeenth-century  shows  in  the 
Pepysian  Library,  ii,  65,  n.  3. 

Images  in  the  "feux  d'artifice"  of  1660,  ii,  179;  — 
mechanical  (London,  1522),  i,  177;  —  for  the 
Pope-burning  of  1711  seized  by  the  Government, 
ii,  175;  —  replaced  by  living  representatives  of 
famous  characters,  i,  77;  —  at  Alexandria,  i,  17, 
n.  6;  —  at  Rome,  i,  17,  n.  6.  [See  also  effigies 
and  giants.] 

"Immigration"  (Providence,  1919),  ii,  289. 

Immortality  (Avignon,  1600),  i,  220. 

Imogene  (London,  1914),  ii,  190,  n.  i. 

Impartiality  (London,  1622),  ii,  77. 

"Imperial  Canopy,"  the  (1623),  ii,  82. 

"Imperial  Triumphant  Chariot"  (1686),  ii,  83. 

Imperial  Unity  (Lichfield,  1907),  ii,  151,  n.  3. 

Impersonal  element  of  history,  the,  stressed  at 
Peterborough,  ii,  264. 

Impersonality,  the,  of  the  coronation  pageantry, 
i,  180. 

Impudence  (London,  1613),  ii,  34. 

Inaccuracies  in  historical  scenes  noted,  ii,  279  f. 

"Inanimate  pageantry,"  ii,  179. 

Incledon,  Mr.,  sings  in  1801,  ii,  103. 

Independence,  celebration  of  the  American,  at 
Philadelphia  (1788),  ii,  236. 

India,  car  emblematical  of  (1895),  ii,  127;  —  repre 
sented  by  a  car  in  "Britannia's  Muster,"  ii,  188; 
ii,  189;  —  "trophy"  of  (1884),  ii,  123. 

"India  Past  and  Present"  (1895),  ">  I27- 


India  (Knutsford,  1913),  ii,  153; — (Lichfield,  1911), 
ii,  152;  —  (London,  1622),  ii,  75;  —  represented 
by  a  float  (London,  1883),  ii,  122;  —  (London, 
1884),  ii,  75,  n.  6;  ii,  123;  —  (London,  1919),  ii, 
141. 

Indian  Emperor  (London,  1672),  ii,  53,  n.  i. 

Indian,  an,  in  a  Plymouth  celebration  (1801),  ii, 
236;  —  chessmen;  the  "castle,"  in,  i,  68;  — 
cities  "represented"  (London,  1678),  ii,  75;  — 
Empire  Trophy  (1884),  ii,  122,  n.  3;  ii,  123. 

"Indian  Feast,  the  Cayuga"  (1914),  ii,  283. 

"Indian  Home  Life"  (Boston,  1897),  ii,  260. 

Indian  idyl,  an  (Peterborough,  1910),  ii,  264. 

Indian  Princes  (Edinburgh,  1832),  ii,  165. 

Indian  section,  the,  in  the  Hudson-Fulton  Pag 
eant,  ii,  243. 

Indian  Trapper  (London,  1905),  ii,  131. 

"Indian  Trail,  the  "  (Norristown,  1912),  ii,  249. 

Indian  Warrior  presented  by  the  Armourers  (1761), 

ii,  95- 

Indianapolis,  May  day  celebrations  at,  ii,  252. 

Indians,  the,  of  New  England  thought  gigantic,  i, 
53;  —  (Boston,  1910),  ii,  266;  ii,  268,  n.  2;  — 
fight  between  Colonists  and  the  (Boston,  1910), 
ii,  266;  ii,  267;  —  on  horseback  (Boston,  1912), 
ii,  245;  ii,  247. 

Indians  in  Brooklyn  mumming,  ii,  158;  —  (Cin 
cinnati,  1914),  ii,  287;  —  (Keene,  1913),  ii,  271; 
—  (Little  Compton,  1914),  ii,  251;  —  (London, 
1661),  i,  244;  —  (Marblehead,  1912),  ii,  277;  — 
Norristown,  1912),  ii,  249;  —  (Philadelphia, 
1882),  ii,  240;  —  in  the  tableaux  at  Plymouth 
(1896),  ii,  259;  ii,  260;  —  (Quebec,  1908),  ii, 
263;  —  receive  Champlain  (Quebec,  1908),  ii, 
241,  n.  5;  — (St.  Louis,  1847),  ii,  237;  ii,  238;  — 
(Stuttgart,  1617),!,  234;  —  (Taunton,  1911)  ,ii, 
269;  —  (Thetford,  1911),  ii,  270. 

Individual,  the,  and  the  modern  pageant,  ii,  205; 
ii,  209;  —  identity  of  the,  kept  subordinate  in 
English  pageants,  ii,  208,  n.  i;  —  type,  and 
quality,  ii,  212  f. 

Indulgences  sold  by  the  Pope's  Master  of  Cere 
monies  (London,  1680),  ii,  173. 

Indus  (London,  1694),  ii,  75. 

Industries  personified  at  Keene  (1913),  ii,  271, 
n.  4;  —  of  Wales  displayed  (1891),  ii,  126. 

Industries  (Liverpool,  1907),  ii,  163. 

Industry,  suggestions  of  (Peterborough,  1910),  ii, 
265. 

Industry  (Antwerp,  1803),  i,  254;  —  (London, 
1612),  ii,  32;  —  (London,  1628),  ii,  39;  —  (Lon 
don,  1660),  i,  242;  —  (London,  1783),  ii,  100;  — 
(London,  1850),  ii,  115;  —  (London,  1853),  ii, 
116;  —  (London,  1904),  ii,  130;  —  chariot  of 
(1684),  ii,  73. 

"Industry"  (St.  Louis,  1878),  ii,  253,  n.  2. 

"Infanta  of  Castile,"  an  inn-sign,  p.  68,  n.  2. 

Influence,  the,  of  Continental  shows  suggested,  ii, 
116; — of  the  Hudson-Pulton  Pageant,  ii,  244, 


386 


INDEX 


n.  3; —  of  pageantry  on  the  drama,  i,  196,  and 

n.  2. 
Influences  and  similarities,  the  danger  of  confusing, 

ii,  144,  n.  i. 
Inkerman,  veterans  of,  in  the  1890  Show,  ii,  125;  — 

(London,  1897),  ii,  188. 
Injustice  (Paris,  1498),  i,  164- 
Inner  Temple  Gate  (London),  ii,  173. 
Innocent  III,  decretal  of,  concerning  Feast  of  Fools 

1207),!,  101. 

Innocents  (Paris,  1431),  i>  J4°- 
Inn-signs  and  pageantry,  i,  69;  i,  77,  n.  i. 
Inns  of  Court  Masque,  an  (1634),  i,  117  f- 
"In  Old  Northumbria"  (1912),  shows  historical 

scenes  ii,  230. 
Inquisition,  "tableau"  of  the  (London,  1680),  ii, 

173- 

Insolence  (London,  1559),  i,  200. 
Inspiration  (Boston,  1908),  ii,  282. 
Instruction  added  to  advertisement  and  divertise- 

ment  in  the  London  Shows,  ii,  130. 
Insurrection  trampled  under  foot  by  Richard  II 

(1700),  ii,  80,  n.  7. 
Integrity  (London,  1622),  ii,  77. 
Interest  in  mediae valism,  i,  xviii. 
"Interlude"  at  a  banquet  really  a  masque,  i,  219; 

—  distinct  from  "mumming"  and  "disguising," 
i,  106;  —  a  musical,  during  the  banquet  (1671), 
ii,  51  f.;  —  at  the  1678  banquet,  ii,  56  f.;  —  the 
modern,  in  pageants  of  the  present,  ii,  222  f.; 
ii,  226. 

"Interludes"  at  receptions  to  General  Monk 
(1660),  ii.  57,  n.  i;  —  at  civic  banquets,  i,  in;  — 
of  Jordan,  characterization  in,  ii,  213;  —  moral 
ity  flavor  of,  ii,  76;  —  music  in  the,  ii,  76;  —  in 
the  Boston  Normal  School  Pageant,  ii,  282,  and 
n.  i ;  —  in  the  Boston  Pageant  of  1910,  ii,  266;  — 
in  the  Taunton  Pageant  of  1911,  ii,  269;  — 
tending  toward  allegory,  ii,  224;  ii,  225;  —  in 
the  Yale  Pageant,  ii,  274,  n.  i. 

International  amity  symbolized  (Quebec,  1908),  ii, 
264;  —  aspects  of  the  modern  pageant,  ii,  204  f.; 

—  aspect  of  the  New  York  Pageant  of  1918,  ii, 
251  f.;  —  courtesy  in  the  1881  Show,  ii,  121;  — 
element  in  the  Hudson-Fulton  pageant,  ii,  242, 
and  n.  3 ;  —  element  in  the  Peterborough  Pag 
eant,    ii,    265;  —  friendliness    emphasized    at 
Quebec  (1908),  ii,  240  f.;  —  pageant,  an,  planned 
for  1920,  ii,  276;  —  participation  in  the  Dover 
Pageant,  ii,  205;  —  suggestions  in  a  Boston  float 
(1912),  ii,  247;  —  symbolism  (1902),  ii,  129. 

International  Faith  (Providence,  1919),  ii,  289. 
Intervale,  the  Spirit  of  the  (Thetford,  1911),  ii,  270. 
Investiture,  the,  of  the  Prince  of  Wales  (1911),  ii, 

227. 

"Invicta,"  how  Dover  got  the  motto,  ii,  218. 
lona  (Hy),  scene  in  the  English  Church  Pageant 

laid  at,  ii,  200. 
Ipomedon,  victor  in  a  three-day  tournament,  i,  89. 


Ireland,  North  of,  a  scene  in  the  (Peterborough, 
1910),  ii,  264;  —  Orange  processions  of,  ii,  180  f. 

Ireland  (Lichfield,  1911),  ii,  152;  —  (London, 
1509),  i,  170;  —  (London,  1604),  i,  225;—- 
represented  by  a  king  (London,  1661),  i,  243, 
n.  i;  —  (London,  1919),  ii,  141. 

Iris,  with  the  Dyers  (London,  1783),  ii,  99. 

Irish  group,  a  (Boston,  1910),  ii,  267;  —  (Taunton, 
1911),  ii,  270;  —  in  the  Boston  procession  of 
1912,  ii,  246;  —  Historic  Pageant,  the  (New 
York,  1913),  ii,  272;  ii,  281. 

Irish  Settlers  (Norristown,  1912),  ii,  249. 

Irishman,  an  (London,  1617),  ii,  76. 

Ironmongers  send  "men  in  armor"  to  Greenwich 
May-games  (1559),  i,  203;  —  to  attend  the 
Queen  (1560),  i,  203;  —  the  barge  of  the  (1540), 
ii,  u;  —  Midsummer  Show  of  1534,  the,  i,  41, 
and  notes;  i,  79;  —  records  of  the,  concerning 
the  1566  Show,  ii,  20  f.,  and  notes;  —  records  of 
the,  concerning  the  1569  Show,  ii,  21; — records, 
items  from  the,  regarding  the  1609  Show,  ii,  30; 
—  the  1629  Show  of  the,  ii,  40 f.;  —  the,  repre 
sented  by  F  err  aria  (1684),  ii,  62;  —  trade  linked 
with  mythology,  ii,7i  f.; —  trade-pageant  (1629) 
ii,  71;  —  trade-pageant  (1761),  ii,  95. 

Ironmongers  (London,  1783),  ii,  99. 

Iroquois,  fight  with  the  (Quebec,  1908),  ii,  263. 

Irvine  Toxophilite  Society  in  the  Eglinton  pro 
cession,  ii,  184. 

Isaac  allegorically  explained,  i,  80. 

Isaac  at  Chester,  i,  44,  n.  6;  —  (Paris,  1498),  i,  163. 

Isaacson,  Paul,  of  Painter-Stainers  company,  com 
plains  of  bad  workmanship  (1626),  i,  235. 

Isabel  of  England  at  Cologne,  i,  12,  n.  3. 

Isabella  at  Paris  (1313),  i,  19,  n.  7;  —  welcomed  at 
London  (1327),  i,  126. 

Isabella  (St.  Louis,  1886),  ii,  253,  n.  4. 

"Isabella's  Part  in  the  Discovery  of  America" 
(Boston,  1912),  ii,  246. 

Isaiah  (Coventry,  1456),  i,  149. 

Ishmael  allegorically  explained,  i,  80. 

Isis,  the  ship  of,  i,  12,  n.  3. 

Isis  (Cambridge,  1919),  ii,  284;  —  wife  of  Thames 
(London,  1662),  i,  249. 

"Island,"  an,  with  lion  and  unicorn  (London,  1662) 
i,  249. 

"Islands"  in  a  water-show  (1613),  ii,  33,  n.  2;  — 
appear  on  land,  ii,  34. 

"Isle  of  Britain",  the  (London,  1606),  i,  228,  n.  i. 

Islington,  early  military  "tournaments"  at,  ii, 
188,  n.  i. 

Italian  group,  an  (Boston,  1910),  ii,  267;  —  (Taun 
ton,  1911),  ii,  270;  —  influence  on  masque,  i, 
121  f.;  i,  123,  and  n.  2;  —  merchants  prepare 
for  1522  reception,  i,  174;  —  religious  proces 
sions,  i,  14,  n.  i;  —  shows  of  the  end  of  the  xv 
century,  i,  161,  n.  6. 

Italian  nobles  (Knutsford,  1913),  ii,  153, 

Italians'  pageant,  the  (1604),  i,  224. 


INDEX 


387 


Italians  in  the  Boston  procession  of  1912,  ii,  247;  — 
in  the  New  York  Pageant  of  1918,  ii,  252;  —  in 
the  "Royal  Naval  and  Military  Tournament" 
(1892),  ii,  187. 

Italy,  tournaments  and  caricatures  of  them  in,  i, 
99,  n.  i;  —  tournament  in,  (1628),  i,  67,  n.  i. 

Italy  (London,  1853),  ii,  116,  n.  3. 

Ivy-clad  Syhans  (London,  1604),  i,  224;  —  wild- 
men  (Chester,  1610),  i,  229. 

Ivy,  Simon,  writes  music  for  1634  masque,  i,  118. 

"Jack-Boot,"  or  Devil,  hanged  at  Boston  (1765), 
ii,  177. 

Jack-in-the-Green,  the,  ch.  i,  §  7  (i,  70);  —  (Chester 
1908),  i,  70;  (Chester,  1910),  ii,  224;  —  (Knuts- 
ford,^i9i3),  ii,  153;  —  (Knutsford,  1914),  i.  70; 
—  Lichfield  (1913)  i,  70;  ii,  152. 

Jack  the  Giant  Killer,  i,  51,  n.  3. 

Jackson,  George,  pageant-maker  (1612),  ii,  32. 

Jackson,  John,  Jr.,  his  account  of  the  Lichfield 
"Bower,"  ii,  149. 

"Jackson,  Statue  of  General"  (St.  Louis,  1886),  ii, 
253,  n.  4. 

Jacob's  sons  (Coventry,  1474),  i,  153. 

"Jaiants,"i,  52.  See  also  giants. 

James  I  at  London  (1603-04),  i,  222;  —  at  York 
(1603),  i,  222,  n.  i;  — at  York  (1617),  i,  234;  — 
at  Edinburgh  (1617),  i,  234,  and  n.  3,  —  enter 
tained  at  Worksop  (1603),  i,  222,  n.  i ;  —  honored 
in  the  1605  Show,  ii,  28  f . ;  —  sonnets  in  honor  of, 
by  Petowe,  i,  222,  n.  i;  —  with  Prince  Henry 
and  Christian  IV,  at  London  (1606),  i,  227. 

James  I  (Chester,  1910),  ii,  224;  —  (Edinburgh, 
1908),  ii,  214;  —  (Ripon,  1886),  ii,  161;  — 
statue  of  (London,  1661),  i,  243,  n.  i. 

James  II  crowned  (1685),  i,  252;  —  and  his  con 
sort  present  at  the  Show  for  1685,  ii,  63,  n.  i, 
and  n.  4;  —  lauded  by  Taubman,  ii,  64;  — 
represented  in  the  Scarva  fight  (1914),  ii,  186; 

—  rewards  Shorter  for  receiving  Papal  Nuncio, 
ii,  63,  n.  8. 

James  IV  of  Scotland  marries  (1503),  i,  168  f. 
James  VI  at  Edinburgh  (1579),  i,  212  f.;  —  son  of, 

christened  (1594),  i,  218. 

Janitor  ad  Januam  (Worcester,  1486),  i,  159,  n.  4. 
"Janus,  Temple  of"  (Avignon,  1600),  i,  220. 
Janus  (London,  1639),  ii,  74;  ii,  191;  —  (London, 

1687),  ii,  77,  n.  3;  —  (Stuttgart,  1617),  i,  234. 
Japan  (Lichfield,  1904),  ii,  151,  n.  3;  —  (London, 

1902),  ii,  129. 

Japanese  in  the  New  York  Pageant  of  1918,  ii,  252. 
Japanese  girls  (Knutsford,  1913),  ii,  153. 
Jarman,  artificer  (1656),  ii,  45;   ii,  46;  — (1657), 

ii,  47,  and  n.  3;  —  (1659),  ii,  47. 
Jason  at  Coventry,  i,  35;  —  (Coventry,  1826),  ii, 

168,  and  n.  i;  —  (Coventry,  1862),  ii,  170,  n.  7; 

—  (London,  1522),  i,  176;  —  (London,  1522),  a 
trade-figure,  i,  196;  —  (London,  1621),  ii,  73;  — 
(London,  1621),  ii,  79,  n.  5. 


Jaunting-car,  an  Irish,  with  Uncle  Sam  and  his 

children  (Boston,  1912),  ii,  247. 
Jaurar  Ben  Abdella,  Alkaid,  received  at  London 

(1637),  i,  237. 

Jeanne  d'Arc  (Compiegne,  1909),  ii,  187,  n.  i. 
Jedburgh  Abbey,  a  disguising  at  (1285),  i,  103. 
Jeffreys,  Sir  Robert,  Mayor  of  London  (1685),  ii, 

62. 

Jehan,  bastard  of  St.  Pol,  i,  96. 
Jehan  Grebert,  carries  the  banner  of  Valenciennes 

at  Lille,  i,  75,  n.4;  i,  81. 
Jenkins,  Mr.,  provides  music  for  the  1790  ball,  ii, 

101,  n.  4;  —  provides  music  hi  1795,  ii,  102. 
Jenkyn,  Margaret  ap  (New  Haven,  1916),  ii,  274, 

n.  i. 

Jeremiah  (Coventry,  1456),  i,  149. 
Jerman  —  see  Jarman. 
Jerusalem  —  see  "Heavenly  Jerusalem." 
"Jerusalem   receives   the  Holy   Cross"    (Bruges, 

1515),  {,172. 
Jerusalem,  Patriarch  of,  and  Charlemagne  (London, 

1522),  i,  176. 

Jesemina  (London,  1684),  ii,  62. 
Jesse  [in  genealogical  table],  (London,  143 2) ,i,  146; 

—  [genealogical  tree?],  (Coventry,  1456),  i,  149. 
Jester,  a  (Boston,  1897),  ii,  260,  n.  3; — in  the 

Gloucestershire  Pageant  (1908),  i,  218,  n.  i;  — 

(Lichfield,  1893),  ii,  150;  — (Ripon,  1886),  ii, 

1 60. 

Jesters  in  a  masque  at  Edinburgh  (1908),  ii,  223. 
Jesuits  (London,  1680),  ii,  173;  —  effigies  of  (Lon 
don,  1681),  ii,  175;  — (London,  1711),  ii,  175, 

n.  3;  —  (Quebec,  1908),  ii,  263. 
Jesus,  in  Christmas  mumming  in  Wales,  i,  17;  — 

[in  genealogical  table],  (London,  1432),  i,  146. 
"  Jeux  de  la  Fete  Dieu"  at  Aix-en-Provence,  (1474), 

i,  94,  n.  7. 

"Jeux  de  la  Tarasque,"  at  Tarascon,  ii,  156,  n.  2. 
Jew,  a  (London,  1617),  ii,  76. 
"Jewels,  the  Arch  of"  (New  York,  1919),  ii,  256. 
"Jinks,"  the,  of  the  Bohemian  Club,  ii,  264;  ii, 

286,  and  n.  5,  ii,  295. 
"Joan  of  Arc,"  opera  of,  produced  on  pageantic 

lines,  ii,  210. 

Job  (London,  1501),  i,  167,  and  n.  5. 
Jockey,  a,  in  a  1634  masque  and  pageant,  i,  118. 
John  (London,  1628),  ii,  3,  n.  i;  ii,  39. 
John,  King  of  France,  a  prisoner  at  London  (1357), 

i,  127  f. 

John,  King  of  France  (Hertford,  1914),  ii,  224,  n.  7. 
John  [King  of  France]  pictured  (Paris,  1498),  i,  164. 
John,  son  of  Edward  III,  in  a  tourney,  i,  95. 
John  the  Baptist  —  see  St.  John. 
John  Bull,  postillions  of  Britannia  dressed  in  cos 
tume  of  (1910),  ii,  189. 
John  Bull  (Knutsford,  1913),  ii,  153;  —  (Lichfield, 

1893),  ii,  150. 

John  Frederick,  Duke  of  Wiirttemberg,  tourna 
ment  at  wedding  of  (1609),  {,99. 


388 


INDEX 


John  of  Gaunt  (London,  1522),  i,  177. 

Johnson,  Alderman,  on  a  committee  to  view  pag 
eants  (1626),  i,  235. 

Johnson,  Dr.  Samuel,  honored  at  Lichfield  (1909) , 
ii,  151;  —  his  etymology  of  pageant,  i,  xvi,  n.  2. 

Johnston,  William,  pictured  at  Belfast  (1914),  ii, 
181. 

Johnstone,  Sir  Charles,  Mayor  of  London  (1914), 

ii,  139- 

Joleta  of  Dreux,  marriage  of,  i,  103. 

"Joliet,  reception  of"  (St.  Louis,  1892),  ii,  253, 
n.  6. 

Jolley,  Mr.,  to  provide  music  (1848),  ii,  113,  n.  5. 

Jollity,  in  a  1634  masque  and  pageant,  i,  118. 

Jonah's  Whale,  i,  57,  n.  3. 

Jones,  Inigo,  i,  119;  i,  121;  i,  135,  n.  3;  i,  178;  — 
drawing  of  a  chariot  by  (1634),  i,  117,  n.  3;  — 
stage  machinery  of,  i,  120,  and  n.  5. 

Jones,  Richard,  license  for  the  1588  Show  to,  ii, 
24,  n.  4;  ii,05. 

Jonson,  Ben,  i,  102;  i,  119;  —  called  "City  Poet," 
ii,  69;  —  the  aim  of  his  symbolism  (1604),  i, 
226;  —  writes  part  of  1604  "entry,"  i,  222,  and 
n.  i;  i,  225,  and  n.  5;  i,  226. 

Jonson,  Ben  (London,  1908),  ii,  135. 

Jopas  (London,  1561),  ii,  18;  ii,  19,  n.  i;  ii,  73, 
n.  2. 

Jordan,  Thomas,  "City  Poet,"  ii,   70,  n.   2;  — 

describes  city  giants,  (1672),  i,  60,  and  n.  3;  — 

"interludes"  of,  ii,  51  f.;  ii,  56  f.;  ii,  76;  ii,  213; 

—  perhaps  not  the  author  of  the  1682  pamphlet, 

ii,6o,  n.  i. 

Jordan  Well  (Coventry),  i,  170. 

Jordan's  description  of  "drolls"  prepared  for  the 
1676  Show,  ii,  84,  n.  6;  —  last  civic  show  (1684), 
ii,  61  f.;  —  "London's  Glory,"  ii,  59;  —  "Lon 
don's  Resurrection"  (1671),  ii,  50  f.;  —  speeches 
written  for  Monk  (1660),  ii,  57,  n.  i;  —  "Tri 
umphs  of  London"  (1675),  ii,  54  f. 

"Joseph  and  his  Brethren,"  a  "pageant-play,"  ii, 
196,  n.  i;  ii,  209;  ii,  229. 

Joseph,  in  Christmas  mumming  in  Wales,  i,  17;  — 
(Dublin,  1528),  i,  179;  —  (Edinburgh,  1503),  i, 
169. 

Joshua  (Bruges,  1515),  i,  76,  n.  2;  i,  172; — (Cov 
entry,  1456),  i,  150;  —  (Paris,  1431),  i,  138, 
n.  4. 

Jotenheim,  giants  of,  i,  51,  n.  3. 

Jotham  (Boston,  1910),  ii,  267. 

Joust,  a,  in  the  Bath  Pageant,  ii,  226,  n.  i;  —  the, 
in  the  modern  pageant,  ii,  222  f.. 

Joust-like  Masque,  a,  at  Winchester  (1908),  ii, 
225  f. 

Jousting  between  Lille  and  Valenciennes,  i,  75, 
n.  4. 

Jousts,  Bacon  on  pageantic  features  of,  i,  115;  — 
and  triumphs  on  17  November,  1599,  i,  2i9J~ 
at  coronation  of  Henry  VI  at  Paris,  (1431),  i,  96; 
—  at  London,  temp.  Richard  II,  i,  95;  —  with 


allegorical  features  temp.  Henry  VIII,  i,  nsf. 
See  also  Tournament. 

Jouy,  rue  de  (Paris),  i,  140. 

Jove  (London,  1629),  ii,  72. 

Joy  (Edinburgh,  1908),  ii,  214;  —  ["resiouys- 
sance"],  (Paris,  1438),  i,  163. 

Judas,  effigy  of,  hanged  and  keelhauled  by  sailors, 
ii,  156,  n.  5;  —  flogged,  i,  16. 

Judas  Maccabeus,  a  giant -hero,  i,  53,  n.  i. 

Judas  Maccabeus  (Coventry,  1456),  i,  150;  — 
(Paris,  1431),  i,  138,  n.  4.  See  also — Nine  Wor 
thies. 

Judases  at  Norwich,  i,  26,  n.  4;  i,  27,  and  n.  2. 

Judge  (Knutsford,  1913),  ii,  154;  —  a  (Edinburgh, 
1908),  ii,  214. 

"Judgment,  the"  (London,  1445),  i,  148. 

"Judgment  of  Paris,"  the  (Edinburgh,  1503; 
London,  1533),  i,  81;  i,  in,  and  n.  3;  i,  169, 
and  n.  i;  i,  183. 

"Judgment  of  Solomon,"  the,  (Edinburgh,  1579), 
i,  213,  n.  i. 

Judith  (Norwich,  1578),  i,  82;  i,  211. 

Juliana,  Princess,  historical  procession  in  honor  of 
(Amsterdam,  1910),  ii,  163. 

[Juno]  (Edinburgh.  1503),  i,  169,  n.  i. 

Juno  (London,  1533),  i,  183;  —  (London,  1635),  ii, 
42;  —  in  a  1427  mumming,  i,  107. 

Jupiter  (Avignon,  1600),  i,  220;  —  (London,  1618), 
ii,38. 

Justice,  at  funeral  pageant  of  Pope  Alexander  VII, 
i,  17,  n.  6;  —  (Bristol,  1486),  i,  160;  —  treads  on 
Nero  (Edinburgh,  1509),  i,  169;  —  (Edinburgh, 
1579),  i,  212;  i,  213,  n.  i;  —  (Edinburgh,  1908), 
ii,  214;  —  (London,  1501),  i,  168;  —  (London, 
1522),  i,  178;  —  (London,  1547),  i,  186;  i,  187; 
—  (London,  1554),  i,  104;  —  (London,  1559),  i, 
200;  —  (London,  1604),  i,  224;  —  (London, 
1611),  ii,  31;  —  (London,  1618),  ii,  38;  —  (Lon 
don,  1623),  ii,  78;  —  (London,  1628),  ii,39;  — 
(London,  1662),  i,  248;  —  (London,  1671),  ii,  51; 
—  (London,  1708),  ii,  78;  —  (London,  1853),  i, 
256;  ii,  116;  —  (Paris,  1498),  i,  164;  —  (Paris, 
1513),  i,  172;  —  (Providence,  1919),  ii,  289;  — 
(Reggio,  1453),  i,  148,  n.  4;  —  (Stuttgart,  1609), 
i,  995  —  (Washington,  1913),  ii,  285. 

Justice  to  regicides  shown  in  paintings  (London, 
i66i),i,  244. 

Juxon,  Sir  Richard,  a  character  in  a  play  of  propa 
ganda,  ii,  230. 

Kaffir  (London,  1910),  ii,  189. 

Kaiser,  the,  forgotten  by  the  London  children 

(1919),  ii,  179. 

Kalends,  celebration  of  the,  and  Christmas,  i,  101. 
Kane,  the  Rev.  Dr.,  pictured  at  Belfast  (1914),  ii, 

181. 

Kangaroo  with  gold-miner  (1910),  ii,  189. 
"Kansas  Volunteers,  the"  (New  Haven,  1916),  ii, 

274,  and  n.  i. 


INDEX 


389 


Kar,  Robert,  baillie,  i,  211. 

Katharine  of  Braganza,  citizens  welcome  (1662),  i, 
247  f.. 

Katharine  of  France  comes  to  London  with  Henry 
V  (1421),  i,  137  f- 

Katherine  of  Spain  marries  Prince  Arthur  (1501), 
i,  113  f.;  —  at  London  (1501),!,  166;  —  wife  of 
Henry  VIII,  at  London  (1509),  i,  169  f. 

Kayn,  founder  of  Carlisle  [Kayrlil],  i,  78,  n.  i. 

Kayrlil,  founded  by  Kayn,  i,  78,  n.  i. 

Keene,  Pageant  of  (1913),  ii,  271  f. 

Keene  (Keene,  1913),  ii,  271,  and  n.  4. 

Kelly,  William,  on  Leicester  Whit-Monday  pro 
cession,  i,  1 6. 

Kendale,  John,  writes  York  Corporation  to  pre 
pare  for  reception  of  Richard  III,  i,  155. 

Kenilworth,  Elizabeth  at  (1575),  i,  207  f.;  —  ani 
mals  at  (1575),  i,  69; — giants  greet  Elizabeth 
at,  i,  51,  n.  3;  —  Hombre  Salvagio  at,  i,  73,  n.  5; 
i,  208; — place  for  tournament  near,  i,  89;  — 
Round  Table  at  (1280),  i,  oo. 

Kenning,  George,  furnishes  a  trade-pageant  for  the 
1885  Show,  ii,  123. 

Kent,  Earl  of,  at  coronation  of  Richard  III,  i, 
155- 

Kidd,  Captain  (Little  Compton,  1914),  ii,  251. 

Kildare,  Earl  of,  at  Dublin  (1528),  i,  179  f. 

"King  Canute's  ford,"  ii,  153,  n.  4. 

King  (of)  Christmas,  the,  i,  8. 

King  —  see  Alfred,  William,  George,  Richard,  etc. 

King  Cole  in  the  Christmas  mumming  play,  i,  7, 
n.  i. 

"King  Edward  VII,"  model  of  H.M.S.,  (1902),  ii, 
129. 

King  Street  (Boston),  ii,  177;  —  (London),  i,  48; 
i,  61,  and  n.  4;  ii,  58;  ii,  90;  ii,  91;  ii,  114;  ii, 
H5,n.  2. 

King  vs.  Mayor  in  a  tourney,  (1360),  i,  95. 

King,  a,  imaged  in  a  cake  (Paris,  1431),  i,  83. 

"King  play,"  applied  to  pageant  of  "Kings  of 
Cologne,"  i,  24,11.  i. 

King  (nameless)  (Paris,  1513),!,  172. 

King  of  Dele,  the,a.t  Dublin,  i,  31. 

King  of  Denmark  at  London  Midsummer  Show 
(1522),  i,  40,  andn.  3. 

King  and  Queen  (Bristol,  1461),!,  152;  —  (Coven 
try,  1474),  i,  154- 

King  of  the  Flesh,  the,  in  "Mary  Magdalene,"  i, 
108. 

King  of  the  Moors,  the,  at  Midsummer,  i,  40;  —  in 
Bavarian  Whitsuntide  processions,  i,  40,  n.  5;  — 
with  wild-fire,  i,  72,  n.  3. 

King's  Bridge  (London),  i,  161. 

Kings  of  Cologne  (Coventry,  1474),  i,  153,  and  n.  6; 
—  [of  Cologne],  (Paris,  1431),  i,  140. 

"Kings,  the  Three"  (Lyons,  1627),  i,  77,  n.  i. 

"Kings,  the  Three,  of  Cologne,"  the  name  "King 
game"  applied  to  pageant  of,  i,  24,  n.  i. 

Kings  [Martyrs  and  Confessors  of  England],  (Lon 


don,  1415),  i,  134,  and  n.  3;  —  (London,  1421), 
1,138;  —  represent  four  kingdoms  of  Britain 
(London,  1661),  i,  243,  n.  i. 

Kingsford,  C.  L.,  on  the  authorship  of  the  1432 
"entry,"  i,  141,  n.  2. 

Kingsland,  Shrewsbury,  i,  33. 

Kirkgate  (Ripon),  ii,  160. 

Kirmess,  a,  at  Cincinnati  (1914),  ii,  287. 

Kittredge,  G.  L.,  reference  to  Brema  suggested  by, 
i,  76,  and  n.  5;  on  "co'es,"  ii,  n,  n.  3;  —  on 
Richard,  Earl  of  Warwick,  disguised  as  Green 
Knight,  i,  75,  n.  3;  —  on  the  susceptibility  of  the 
age  to  symbolism  and  abstraction,  ii,  296. 

Knaves  of  the  four  suits  of  playing  cards,  trade 
figures  in  the  1889  Show,  ii,  124. 

Knevets,  Master , servant  of,  drowned  (1536),  i,  98. 

Knickerbocker,  Father,  gigantic  figure  of  (New 
York,  1909),  ii,  243. 

Knight  (Edinburgh,  1832),  ii,  165,  and  n.  5;  ii, 
166;  —  (Knutsford,  with  the  May  Queen),  ii, 
154,  and  n.  4;  —  Martial,  the  parade  of  the 
(London,  1912),  ii,  185;  —  a,  overcomes  Gold 
(St.  Louis,  1914),  ii,  273,  n.  3;  —  representing 
Chivalry  (Boston,  1908),  ii,  283;  —  representing 
Youth  (Oxford,  1907),  ii,  223;  —  of  See,  the,  in 
the  Revesby  sword-play,  i,  10,  n.  i ;  —  a  trade- 
figure  at  Warrington  (1914),  ii,  155.  [See  also 
Knights,  Ancient  Knights,  Man  in  Armor, 
Armed  Men,  and  Champion.] 

Knights  in  armor,  the,  of  the  civic  shows,  unpag- 
eantic,  ii,  148;  —  of  Economy  (Boston,  1910),  ii, 
267;  —  at  Coventry  (1862),  ii,  170;  —  of  the 
Round  Table  (Diisseldorf,  1852),  ii,  147;  —  of 
Eglinton,  compared  with  those  of  the  Lord 
Mayor's  Show,  ii,  183;  —  called  "Heroes  of  St. 
John's  Wood,"  ii,  183;  —  (Lichfield,  1893),  ii, 
150;  —  (Lichfield,  1914),  ii,  152;  —  (London, 
1298),  i,  124;  —  in  a  pageantic  forest  at  court 
(London,  1511),  i,  116;  —  with  Walworth  (Lon 
don,  1616),  i,  80;  —  (London,  1618),  i,  38;  — 
(London,  1700),  ii,  80;  —  (London,  1815),  ii, 
104;  —  (London,  1851),  ii,  116;  —  with  St. 
George  (London,  1895),  ii,  127,  and  n.  4;  — 
from  Spain,  Cyprus,  and  Armenia  (London, 
1907),  ii,  134;  —  with  Walworth  (London,  1913), 
ii,  138;  —  (Munich,  1662),  i,  118;  —  with 
Pharaoh  at  Norwich,  ii,  12,  n.  3;  —  at  Ripon 
(1886),  and  in  the  1912  tourney,  ii,  185;  —  of 
St.  John  (St.  Johnsbury,  1912),  ii,  270.  [See 
also  Man  in  Armor,  Armed  Men,  Ancient 
Knights,  etc.] 

Knights  disguised  (1331),  i,  90;  —  representing 
Dukes  of  Normandy  and  Guienne  (1533),  i, 
181  f.;  —  of  Columbus,  the,  in  the  Boston  pro 
cession  of  1912,  ii,  246. 

"Knowledge,  the  Fire  of"  (New  York,  1909),  ii, 

243- 

Knowledge  (Boston,  1908),  ii,  282;  —  (London, 
1613),  ii,  34;  —  (Oxford,  1907),  ii,  223. 


\\ 


390 


INDEX 


Knowles,  Lord,  receives  Queen  Anne  (1613),  i, 
209,  n.  6. 

Knowles,  Thomas  (London,  1783),  ii,  100. 

Knutsford,  morris-dancers  at  (1914),  i,  i°5  — 
Jack  at  (1914),  i,  70;  —  "Royal"  May-Day 
Festival,  ii,  153  f.;  ii,  192. 

Kornyche,  William,  deviser  of  revels  (1522),!,  121. 

"Kynge  Johan,"  the  mixture  of  allegory  and  his 
tory  in,  suggested  by  the  1590  Show,  ii,  25. 

Labor    "Knight,"    a    trade-figure    (Warrington, 

1914),  ii,  155. 
Labor  (Boston,  1910),  ii,  266;  —  (London,  1604), 

i,  224;  —  (London,  1677),  ii,  84,  n.  6,  —  (Norris- 

town,  1912),  ii,  250. 
"Laclede,  the  landing  of,"  (St.  Louis,  1914),  ii, 

273,   n.    2;  —  pictured  on  the  banner  of  the 

Phoenix  Hose  Company  (1847),  ii,  238,  n.i. 
"Laclede,"  model  of  the  (St.  Louis,  1847),  ii,  237. 
Ladies  leading  horsemen  by  golden  threads  (1330), 

i,  94;  —  leading  knights  (1375),  i,  95;  —  (*494)i 

i,  96;  —  led  by  nobles  (1331),  i,  91;  —  in  the 

Charterhouse  "masque,"  ii,  227,  n.  2. 
Lady-Fair,  the,  at  Southward,  proclaimed  (1680), 

ii,58. 
"Lady"  in  a  group  representing  Chivalry  (Boston, 

1908),  ii,  283. 
"Lady  of  the  Sun,"  the,  in  a  1375  tournament,  i, 

95;  —  of  the  Lake  (Kenilworth,  1575),  i,  208; 

i,  209;  —  in  a  Sedan  (Knutsford,  1913),  ii,  153. 
Lady,  a,  and  a  peacock,  imaged  in  a  cake  (Paris, 

1431),  i,  83;  —  and  a  swan,  imaged  in  a  cake 

(Paris,  1431),  i,  83. 

Lafayette,  reception  to  (Boston,  1897),  ii,  261. 
Lafayette  Park  (Washington),  ii,  255. 
Lakes,  Spirits  of  (London,  1911),  ii,  225. 
Lamb,  a,  at  Norwich  (i537-38)>  i,  27,  n.  3;  —  and 

lion  draw  the  chariot  of  Time  (1660),  ii,  77;  — 

maiden  with  a,  and  St.  George,  i,  152;  i,  154;  i, 

186. 

Lambeth,  i,  248;  i,  249. 
Lament,  a,  for  Snap,  i,  29. 
"Lament  of  the  Man  in  Brass"  (1850),  ii,  116. 
Lampheto  (Paris,  1431),  i,  138,  n.  4. 
Lanaria  (London,  1684),  ii,  62. 
Lancashire,  "Giants'  Graves"  in,  i,  51,  n.  3. 
Lancaster,  Mr.,  bearer  of  Kendale's  letter  (1483), 

i,  155- 

Lancaster,  the  Duchy  of,  with  Westminster,  pro 
vides  a  pageant  (1604),  i,  225. 

Lancaster  and  York,  the  union  of,  shown  by  his 
torical  figures  (London,  1559),  i,  200. 

Lancaster  [Massachusetts],  the  Pageant  of,  ii,  279; 
— historical  scenes  at  (1912),  ii,  264. 

Lancaster,  Duke  of,  pageant  of  (London,  1522),  i, 

174;  i,  177- 

Lancelot,  Sir  (London,  1908),  ii,  135. 
Landon,  Mark,  takes  the  part  of  the  Friar  in  the 

Ripon  play,  ii,  161,  n.  2. 


Langbane,  i,  53. 

Langdon,  W.  C.,  master  of  the  Thetford  and  St. 
Johnsbury  Pageants,  ii,  270;  —  "pageant"  de 
fined  by,  ii,  291  f.;  —  on  the  cost  of  pageants,  ii, 
206,  n.  2;  —  on  the  modern  pageants,  ii,  143. 

Langoemagog,  i,  59. 

Laon,  cavalcades  at,  in  connection  with  the  Feast 
of  Fools,  i,  13,  n.  i. 

Larvae  in  the  Feast  of  Fools,  i,  101. 

"La  Salle  taking  possession  of  the  Louisiana  Terri 
tory"  (St.  Louis,  1892),  ii,  253,  n.  6. 

Lascelles,  F.,  master  of  the  Quebec  and  Oxford 
pageants,  ii,  262. 

"Last  Days  of  St.  Benet's  Abbey,  The,"  ii,  229. 

"Last  Judgment,"  the,  at  Antwerp,  i,  255. 

Lateran  Council  (1179),  tournaments  forbidden  by, 
1,87. 

Latimer,  the  burning  of,  pictured  at  Belfast  (1914), 
ii,j8i. 

Latimer,  Hugh  [Bishop  of  Worcester],  (London, 
1907),  ii,  134. 

Latin  oration  (London,  1604),  i,  225;  —  School, 
Boston,  students  of,  give  a  scene  in  the  Boston 
"festival"  (1897),  ii,  260;  —  speeches  and  songs 
(London,  1606),  i,  228,  n.  i;  i,  228,  n.  4;  — 
words  of  command  given  in  the  1914  "Roman 
Pageant,"  ii,  190. 

Laud,  Archbishop,  uncle  of,  mayor  in  1591,  ii,  25. 

Lauder,  William,  paid  for  producing  a  play  at  the 
"triumph"  at  Edinburgh  (1558),  i,  194. 

Laughter,  in  a  1634  masque  and  pageant,  i,  118. 

de  Laval,  Mgr.,  received  by  Marquis  de  Tracy,  ii, 
263. 

Law  (Edinburgh,  1908),  ii,  214;  —  (Oxford,  1907), 
ii,  223;  —  (Providence,  1919),  ii,  289. 

Lawder,  Henry,  welcomes  Mary  of  Guise  to  Edin 
burgh  (1538),  i,  185. 

Lawrence,  Sir  John,  Mayor  of  London  (1664),  ii, 
49. 

Lawrence,  the  Pageant  of  (1911),  ii,  269,  and  n.  2; 
ii,  282,  n.  i. 

Lawrence  (Lawrence,  1911),  ii,  269. 

Laws,  Old  and  New,  pageants  of,  at  Venice  (1517), 
i,  22,  n.  6. 

Laws  (the  musician),  writes  music  for  "The  Tri 
umph  of  Peace,"  i,  118. 

Lea,  Sir  Henry,  in  a  tilt  (1590),  i,  215. 

Lea,  the  (London,  1661),  i,  245. 

Leadenhall  (London),  i,  37;  i,  124;  i,  148;  i,  173; 
i,  174;  i,  177;  i,  180;  i,  182,  and  n.  6;  i,  189;  i, 
244;  i,  245;  ii,  33,  n.  i;  ii,  42,  and  n.  i;  ii,  47; 
[Street],  ii,  115,  n.  2. 

League  of  Nations,  the,  in  the  1919  Show,  ii,  141. 

Lear,  son  of  Bladud,  founder  of  Leicester,  i,  78, 
n.  i. 

"Learning,  Court  of,"  the  (Oxford,  1907),  ii,  223. 

Learning  (Boston,  1908),  ii,  282;  —  (Edinburgh, 
1908),  ii,  214;  —  (London,  1628),  ii,  39. 

Leat,  Mr.,  to  deal  with  Munday,  ii,  30. 


INDEX 


391 


Leathersellers,  car  of  the  (1895),  ii,  127. 

"Leavelookers,"  i,  45,  n.  5;  i,  46,  and  notes  i  and  2. 

Leavitt,  Sir  Richard,  Mayor  of  London,  (1699),  ii, 
68. 

Lechery  in  "Mary  Magdalene,"  i,  108. 

Lee,  Ambrose,  directs  the  ceremonies  in  "Joan  of 
Arc,"  ii,  209  f . 

Lee,  Robert,  Mayor  of  London  (1602),  ii,  27. 

Leere,  Mr.,  Schoolmaster  of  St.  Anthony's  (1556), 
ii,  16. 

Legendary  history  of  Ireland  at  New  York,  ii,  272. 

Legends,  local,  in  modern  pageants,  ii,  281. 

Leicester,  Adelaide  at  (1839),  i,  256;  —  Victoria 
and  Albert  at  (1843),  i,  256;  —  Corpus  Christi 
at,,  i,  18,  n.  i ;  —  Corpus  Christi  guild  of ,  i,  21 ;  — 
founded  by  Lear,  i,  78,  n.  i;  —  passion-play  at, 
i,  18,  n.  i ;  —  St.  George  at,  i,  29  ff.;  —  St.  Mar 
garet,  guild  of,  at,  i,  21;  i,  31;  —  Whit-Monday 
at,  i,  16. 

Leicester,  Earl  of,  asks  Gascoigne  to  devise  a  fare 
well  entertainment  (1575),  i,  209. 

Leicester,  Earl  of  (Lichfield,  1893),  ii,  150. 

Leigh,  Sir  Thomas,  ancestor  of  Marlborough,  ii, 
124;  —  ancestor  of  Chatham,  ii,  125. 

Leil,  grandson  of  Ebrauk,  i,  78,  n.  i. 

Leith,  George  IV  at  (1822),  i,  255,  and  n.  3;  i,  256. 

Leman,  Sir  John,  Mayor  of  London  (1616),  ii,  37; 
—  on  a  committee  to  view  pageants  (1626),  i, 
235- 

"Lemnian  Forge",  the  (1629),  ii,  40;  ii,  71. 

Lemnos  (1618),  ii,  38. 

"Lemon  tree"  of  1616,  the,  ii,  37. 

Lendores,  Lord  of,  as  an  Amazon,  i,  218,  n.  7. 

Lent,  man  disguised  as,  i,  8,  and  n.  4. 

Lenton,  a  character  in  "Gladman's  Insurrection," 
i,8. 

Leofric  (Coventry,  1862),  ii,  170,  n.  7. 

Leogria  (London,  1605),  i,  82,  n.  2;  ii,  28;  ii,  75. 

Leopard,  a  (London,  1618),  ii,  38. 

Leopards  draw  chariot  of  two  kings  (i6n),ii,3i;  — 
ridden  by  Moors  (London,  1656),  ii,  46. 

Lep stone  (London,  i6n),ii,  31. 

de  Lesseps,  Count,  guest  at  Guildhall  (1883),  ii, 
122, n. i. 

Levis  (Quebec,  1908),  ii,  263,  n.  4. 

Lewisham,  celebration  of  Vernon's  birthday  at 
(1740),  ii,  178,  n.  4. 

Lewyn,  Thomas,  warden  of  the  Ironmongers 
(i534),  i,  4i,  n.  i. 

"Lexington,  minute  men  at"  (Boston,  1897),  ii, 
261. 

Ley  den,  celebration  of  the  "Mayflower"  voyage 
at,  ii,  276. 

Liberal  Arts,  or  Sciences,  the  Seven  (Boston,  1008), 
ii,  283;  —  in  a  Hessian  tilt  (1596),  i,  219;  — 
(London,  1432),  i,  795  i,  1455  — in  pageants 
after  1432,  i,  145,  n.  2;  — (London,  1547),  i, 
186;  —  (London,  1604),  i,  225,  n.  i;  —  (London, 
1612),  ii,  32;  ii,  77;  —  (London,  1629),  ii,  40;  — 


(London,  1676),  ii,  77,  n.  3;  —  (London,  1687), 
ii,  63,  n.  8;  ii,  77,  n.  3;  —  (Oxford,  1907),  ii,  223. 

Liberality  (Edinburgh,  1594),  i,  218;  —  (London, 
1613),  ii,  34;  —  (Paris,  1498),  i,  163. 

Liberation  of  Spain,  the,  represented  on  a  trans 
parency  (1814),  ii,  162. 

Liberty  (London,  1604),  i,  225;  —  (London,  1684), 
ii,  62;  —  (Providence,  1919),  ii,  289;  —  (Wash 
ington,  1913),  ii,  285;  —  Goddess  of  (Keene, 
1913),  ii,  272;  —  Goddess  of  (New  York,  1909), 
ii,  243;  —  Loan  (Providence,  1919),  ii,  289;  — 
Statue  of  (London,  1905),  ii,  131,  and  n.  4. 

Library  Bureau,  the  float  of  the,  a  trade-pageant 
(Boston,  1912),  ii,  247. 

Lichfield,  the  "Greenhill  Bower"  at,  i,  9;  i,  10;  i, 
47;  i,  48,  n.  2;  ii,  148  f.;  ii,  192;  — "Jack"  at 
(i9i3),i,  70. 

Lictors  (1686),  ii,  83;  —  (1687),  ii,  85,  n.  2;  — 
(1702),  ii,  83,  n.  3;  ii,  153;  —  with  Roman  Pre 
fect  (London,  1783),  ii,  98;  —  in  the  1914  "Tour 
nament,"  ii,  189. 

Lideric,  Liederic  —  see  Lyderic. 

Lieder,  Miss  Helen  L.,  her  account  of  mumming  in 
Brooklyn,  ii,  158. 

Lieutenant  of  the  Tower,  the,  receives  mayor's 
oath  (1665),  ii,  49. 

Life  (Edinburgh,  1908),  ii,  214. 

Lifeboat  in  the  1883  Show,  ii,  121;  —  in  the  1891 
Show,  ii,  126;  —  in  the  1901  Show,  ii,  129;  — 
in  the  1906  Show,  ii,  132;  —  in  the  1913  Show, 
ii,  138;  —  (Knutsford,  1914),  ii,  154,  n.  i;  — 
(Lichfield,  1904),  ii,  151,  n.  3. 

Light  Brigade,  veterans  of  the  charge  of  the,  in  the 
1906  Show,  ii,  132. 

Light,  artificial,  at  out-door  performances  at  St. 
Louis,  ii,  273. 

Lighting  of  the  1629  Show,  provision  for  the,  ii, 
41. 

Light  (Edinburgh,  1908),  ii,  214;  —  (Providence; 
1919),  ii,  289. 

Lille,  the  giant  of,  i,  55,  n.  2;  —  "hommes  sau- 
vages"  at,  i,  75,  n.  4;  --  "Monsieur  Saint 
Georges"  prayed  to  at,  i,  88;  — Roi  de  I'Epi- 
nette  at,  i,  75,  and  n.  4;  i,  88;  i,  135,  n.  i;  — 
pageantic  tourneys  at,,  i,  75,  n.  4;  i,  88;  — 
Valenciennes  citizens  at,  with  banners,  and  dis 
guised,  i,  75,  n.  4;  i,  81;  —  warlike  amusements 
at,  i,  87  f. 

Lily,  symbolism  of  the  Orange  (Belfast,  1914),  ii, 
181. 

Lime  Street  (London),  i,  244. 

Limited  appeal  of  tourneys,  the,  ii,  187. 

Lincoln  (London,  1631),  ii,  75. 

Lion  (London,  1602),  ii,  27;  ii,  72;  —  (London, 
1605),  ii,  28;  —  [signifying  vengeance]  (1606),  i, 
229;  —  (London,  1662),  i,  249;  —  gilt,  at  Sand 
wich  (1573),  i,  205; — and  an  antelope,  (London, 
1415),  i,  133;  —  and  antelope  in  1511  joust,  i, 
115;  —  with  Britannia  (1910),  ii,  189;  —  and  a 


392 


INDEX 


lamb  draw  chariot  of  Time  (1660),  ii,  77;  —  and 
a  leopard  (Bruges,  1468),  i,  152;  —  born  of  a 
lion  and  a  phoenix  (London,  1547),  i,  186;  — 
with  St.  John  the  Baptist  (1554),  ii,  15. 

Lions  (London,  1623),  ii,  78;  —  (London,  1626),  ii, 
78,  n.  4;  —  (London,  1656),  ii,  46;  —  (London, 
1684),  ii,62;  —  of  lead  (London,  1501),  i,  168, — 
mechanical  (London,  1421),  i,  138;  —  (London, 
i547),i,  186. 

Lionel,  son  of  Edward  III,  in  a  tourney,  i,  95. 

Lisbon,  St.  George  at,  i,  24,  n.  2. 

Lisle,  Lord,  John  Husee  writes  to,  i,  41 ;  i,  42,  n.  3, 

—  at  coronation  of  Richard  III,  i,  154. 
Lists,  plan  of,  the,  at  Eglinton,  ii,  184. 
Literature,  characters  from,  in  the  1908  Show,  ii, 

135;  —  and  history  in  early  xx  century  shows, 

ii,  136. 

Literature  (Lichfield,  1909),  ii,  151. 
Lithuanians  in  the  Boston  procession  of  1912,  ii, 

247. 

Little  Boy  Blue  (Cambridge,  1919),  ii,  284. 
Little  Compton,  children's  parades  at  (1914  and 

1915),  ii,  250  f. 
Little  Jack,  character  in  Christmas  mumming  play, 

i,  7,  n.  i. 
Little  John  (Lichfield,  1893),  ii,  150,  —  (London, 

1615),  ii,  144,  n.  i. 

Little  Park  Street,  (Coventry),  i,  204. 
Little  Red  Riding  Hood  (Lichfield,  191 4),  ii,  152;  — 

(St.  Louis,  1888),  ii,  253,  n.  5. 
Liverpool's  Anniversary  Pageant  (1907),  ii,  163; 

ii,  192. 

Liverpool  (Liverpool,  1907),  ii,  163. 
"Living  pictures,"  i,  xix,  xx;  —  in  frames  given  a 

trade  signification  (Preston,  1902),  ii,  165,  n.  2; 

—  in  an  opera,  called  "pageants"  (1913),  ii, 
210,  n.  i;  —  see  also  "tableaux." 

Lizards,  the,  of  the  Ironmongers'  crest  (1618),  ii, 

38. 
Llantwit,  capture  of  the  pirate  O'Neil  celebrated 

at,  i,  56,  n.  3. 

"Llantwit's  Anwyl,"  i,  56,  n.  3. 
Lloyd,  Lod.,  dedicates  verses  to  the  king  (1607), 

i,  149,  n.  3. 
Loan -collection,  a,  in  connection  with  the  pageant 

(Marietta,  1888),  ii,  258,  n.  3. 
Local  history  and  French  kings  (Avignon,  1600), 

i,  220. 
Local  talent  insisted  on  by  Mr.  Parker,  ii,  198;  — 

slighted  at  Bristol  (1574),  i,  207;  ii,  198,  n.  4. 
Lochner,  G.  W.  K.,  records  Nuremberg  tourneys, 

i      ^  -  •     i     CQ 

1,  07  ,    1)  oo. 

Locomotive,  the  first,  to  run  from  Philadelphia  to 
Norristown  (Norristown,  1912),  ii,  249  f. 

Locomotives,  models  of,  at  Philadelphia  (1882),  ii, 
240. 

Locrine,  the  son  of  Brute,  i,  78,  n.  i. 

Lo[d]ge,  Master,  sheriff  of  London  (1559),  ii,  17. 

"Log  Cabin,  a"  (Norristown,  1912),  ii,  249. 


Logic  represented  with  Aristotle  (London,  1432),  i, 

79;  i,  145- 

Lohengrin  (New  York,  1909),  ii,  244,  n.  i. 

Lombard  Street  (London),  ii,  115,  n.  2. 

London,  Anne  of  Bohemia  at  (1382),  i,  129;  — 
Anne  Boleyn  at  (1533),  i,  i8of.;  —  Anne  of 
Cleves  at  (1540),  i,  185;  —  birth  of  Edward  III 
celebrated  at  (1313),  i,  126;  —  birth  of  the 
prince  celebrated  at  (1330),  i,  127;  —  Bridge,  i, 
130;  i,  133,  and  n.  i;  i,  143;  i,  148;  i,  154,  n.  2; 
i,  165;  i,  166;  i,  167;  i,  176;  i,  100,  and  n.  12;  i, 
191,  and  n.  i;  i,  191;  ii,  112,  n.  i;  ii,  114;  — 
[Thames  crowned  with  (London,  1661),  i,  245]; 

—  celebration  of  Vernon's  birthday  at  (1740), 
ii,  178,  n.  4;  —  Charles  I  at  (1641),  i,  238  f.;  — 
Charles  II  at  (1660),  i,  241  f.;  —  (1661),  i,  243  f.; 

—  (1679), i,  251;  —  CharlesVat  (1522), i, 174  f.; 

—  Christian  IV  at  (1606),  i,  227  f.;  —  Christmas 
mumming  prohibited  at,  i,  103  f.,  and  n.  2;  — 
Church  "giants"  and  images  at,  i,  57,  n.  2;  — 
disguisings  at,  by  Lydgate,  i,  107;  —  Duke  of 
Holland   at    (1416),   i,    137;  —  Edward   II   at 
(1308),  i,  125  f.;  —  Edward  IV  at  (1461),  i,  150; 
-(1475),  i,  154;  — Edward  VI  at  (1547),  i, 
185  f.;  — (1549),    i,    187;  — Edward    VII    at 
(1902),  i,  257;  —  effigies  burned  at,   i,   16; — 
Elizabeth,  queen  of  Henry  VII,   crowned  at 
(1487),  i,  i6of.;  —  Elizabeth  at,  ch.  iv,  passim 
(i,   198-219);  —  (1559),  i,   199  f.;  — (1581),  i, 
213  f.;  —  (1588),  i,  214  f.;  —  (1591),  i,  214,  n.  4; 

—  Falkirk  celebrated  at  (1298),  i,  124;  —  French 
admiral  at  (1546),  i,  185;  —  George  I  at  (1714), 
i,  2S3;  —  Prince  Henry  at  (1610),  i,  230 f.;  — 
Henry  of  Lancaster  at  ( 1 3  99) ,  1,132;  —  Henry  V 
returns  from  Agincourt  to  (1415),  i,  132  ff.;  — 
Henry  V  and  Katharine  at  (1421),  i,  137  f.;  — 
Henry  VI  at  (1432),  i,  141  f.;  —  Henry  VII  at 
(1485),!,  157;  — Henry  VIII  at  (1509),  i,  169  f.; 

—  Isabella  at    (1327),   i,    126;  —  James   I   at 
(1604),  i,  222  f.;  — John  of  France  a  prisoner  at 
(J357)>  i>  127  f.;  — Lord  Mayor's  Shows  of,  see 
Lord  Mayor's  Show;  — Louis  XVIII  at  (1814), 
i>  255;  —  Margaret  of  France  at  (1300),  i,  125;  — 
Margaret  of  Anjou  at  (1445),  i,  148;  —  Mary 
at  (i553),  i,  188  f; — Midsummer  Watch  at,  i,  37 
ff.;  —  muster  of  crafts  at,  i,  47;  —  a  "pageant" 
at  (1499),  i,  J6s; — the  Pageant  of  (1911),  i,  132, 
n.  4;  ii,  162,  n.  6.    [See  also  "Festival  of  Em 
pire."]  —  Peace  Celebration  at  (1814),  ii,  162  f.; 

—  Philippa  of  Hainault  at  (1327),  i,  127;  —  Phi 
lip  II  at  (i554),  i,  189  f.;— plague  at  (1563), 
i,  203;  — political  propaganda  at  (1910),  ii,  255, 
n.   2;  —  Pope-burnings  at,  i,  16;  i,  51,  n.  2;  ii, 
i72f.; — Queen  of  Scots  received  at  (1516),  i,  173; 
-  Richard  II  at  (1377),  i,  128  f.;  —  Richard  II 
moves  his  capital  back  to  (1392),  i,  129  f.;  — 
Roman  Ambassadors  at  (1518),  i,  173;  —  "royal- 
entries  "at,  chs.  iii,  iv,  v,  passim', — Royal  Family 
at  (1536),  i,  184  f.;  — " Royal  Naval  and  Military 


INDEX 


393 


Tournament"  at,  ii,  i87f.;  —  Sigismund  at 
(1416),  i,  137;  —  tableaux  at,  i,  23;  —  three  kings 
visit  (1363),  i,  128;  —  tournaments  at,  temp. 
Richard  II,  i,  95;  (1360),  i,  95;  (1494),  i,  96; 
(1536),  i,  98.  [See  also  Cheap,  Smithfield.]  — 
wedding  of  Arthur  and  Katherine  at  (1501),  i, 
i66f.;  —  Whifflers  at  (1539),  i,  71;  —  William 
III  at  (1697),  i,  252. 

London  personified,  i,  81;  i,  82,  n.  2;  ii,  75, 
(London,  1585),  ii,  24;  ii,  74;  —  (London,  1613) 
ii,  335  ii,  345  ii,  355  ii,  74; —  and  her  daughters 
(the  Companies),  (1615),  ii,  73  f.; —  (London, 
1616),  i,  233;  i,  234;  — (London,  1628),  ii,  39; 
ii,  40;  —  (London,  1631),  ii,  74;  —  (London, 
1919),  ii,  141. 

London,  Citizen  of  (London,  1661),  i,  245. 

"London's  Tempe"  (1629),  ii,  72. 

Lollards  accused  of  cloaking  sedition  in  a  mumming 
(1414),  i,  104. 

Long  Life  (London,  1684),  ii,  62. 

Long  Sault,  the  fight  at  (Quebec,  1908),  ii,  263. 

Lord,  Arthur,  on  the  Plymouth  Pageant  of  1896, 
ii,  258  f. 

Lord  Chamberlain  (Knutsford,  1913),  ii,  154. 

Lord,  a,  in  fufs  (1628),  ii,  39. 

Lord  Chief  Baron  warns  against  Romish  plots 
(1679),  ii,  58. 

"Lord  Mayor,"  title  of,  at  London,  ii,  12  f. 

Lord  Mayor's  coach,  ii,  86;  ii,  90;  ii,  92;  ii,  93  f.; 

—  Day  altered  from  30  October  to  9  November, 
ii,  93;  —  Day,  c  1740,  described  in  a  contem 
porary  volume,  ii,  89  f. 

"Lord  Mayor's  Day,  or,  a  Flight  from  Lapland" 
(1783),  ii,  97f.,andn.  4. 

Lord  Mayor's  Show,  the,  i,  xv;  i,  xviii;  i,  82,  n.  2; 
ii,  ch.  vi,  passim.',  —  the  beginnings  of  (1209- 
1585),  ii,  3-23;  —  the  decline  of  (1708-1858),  ii, 
86-119;  —  the  height  of  (1585-1708),  ii,  23-86; 

—  influence  of,  on  the  masque  suggested,  i,  216, 
n.  4;  i,  217;  —  in  a  pantomime  (1783),  ii,  97  f.; 

—  and  the  Parkerian  Pageant,  i,  196;  —  renais 
sance  of  (1858-1919),  ii,  119-145;  —  satirized 
(1823),  i,  62,  n.  2;  — whifflers  at  (1566,  1575, 

1913),  i,  7i- 

[The  particular  shows  mentioned  are  recorded 
chronologically  under  Show.] 

Lord  of  Misrule,  pageant  of,  connected  with  folk- 
pageantry,  i,  24,  n.  i;  —  (London,  1889),  ii,  124. 

Lord  Moryspyks,  i,  40;  i,  56,  n.  3. 

Lords  [temp.  Anne],  (London,  1889),  ii,  124. 

Lords  of  the  Five  Ports,  bear  the  canopy  over  Anne 
Boleyn  (1533),  i,  182. 

Lormerye,  men  of,  at  Valenciennes  (1330),  i,  94. 

Louis  VIII  (Avignon,  1600),  i,  220. 

Louis  XII  at  Paris  (1498),  i,  162  f. 

Louis  XII  portrayed  in  a  pageant  for  himself 
(Paris,  1498),  i,  163. 

Louis  XIII  at  Paris  (1628),  i,  235,  n.  5. 

Louis  XVIII  at  London  (1814),  i,  255;  ii,  162,  n.  6. 


Louis,  Duke  of  Origans  pictured  (Paris,  1498),  i, 

164. 
"Louisiana  Territory,  the  History  of  the"  (St. 

Louis,  1892),  ii,  253,  and  n.  6. 
Louvre,  scene  at  the  (Quebec,  1908),  ii,  263,  and 

n.  i. 
Love  (Chester,  1610),  i,  230;  —  (Edinburgh,  1908), 

ii,  223;  —  (London,  1604),  i,  224;  —  (London, 

i66i),i,  246. 

Love  of  Subjects  (London,  1559),  i,  200. 
"Love's  Labours'  Lost,"  the  Worthies  in,  i,  150,  n. 

2. 

"Love's  Mistake,"  with  scenery  (1636),  i,  120. 
Lovel,  Viscount,  at  the  coronation  of  Richard  III, 

i,  155- 

Loving  Affection  (London,  1604),  i,  224. 
Lowen,  John,  takes  a  part  in  the  1611  Show,  ii,  31. 
Loyalty  (London,  1585),  ii,  24;  ii,  75,  n.  8;  ii,  77 ;  — 

(London,   1661),  i,   244;  —  (London,   1662),  i, 
'     248;  —  (London,  1685),  ii,  63;  —  (Ripon,  1886), 

ii,  161. 
Luces,  i,  44,  n.  8;  i,  45,  n.  5;  i,  46;  i,  64;  i,  124; 

ii,  224. 

Lucinus,  Marcus  Julius  (London,  1623),  ii,  79. 
Lud,  son  of  Hely,  rebuilder  of  London,  i,  78,  n.  i. 
Lud,  King,  with  his  two  sons  (London,  1783),  ii,  98. 
Ludgate,  i,  48;  i,  78,  n.  i;  i,  184;  i,  189;  i,  202; 

i,  241,  n.  3;  ii,  56;  ii,  91;  [Hill],  ii,  114. 
Ludlow,  a  scene  in  the  Pageant  of  Wales  at,  ii,  199, 

n.  i. 

Lud's  town,  i,  58,  n.  2;  [Caerlud],  i,  78,  n.  i. 
"Ludus  regis"  (1388),  i,  102. 
Lumberman,  Canadian  (Knutsford,  1913),  ii,  153. 
Lumnow  paid  for  "stuff"  on  pageants  (1522),  i, 

175- 

Lumley,  Sir  Martin,  on  a  committee  to  view  pag 
eants  (1626),  i,  235. 

Luna  (London,  1612),  ii,  32;  —  (London,  1657), 
ii,47. 

Luther,  Martin,  scenes  from  the  life  of  (Belfast, 

1914),  ii,  181. 

Luther,  play  of,  at  Worms,  ii,  197. 

Luxury,  Spirit  of  (London,  1914),  ii,  189;  ii,  190. 

Luzerns,  i,  44,  n.  8;  ii,  23,  and  n.  3;  ii,  39. 

Lyderic  i,  55,  and  n.  2;  i,  76,  n.  2;  i,  172. 

Lydgate,  John,  i,  xviii;  —  and  allegory,  i,  58,  n. 
i^-8eri,-xo7  f.;  i,  195;  — author  of  the  pag 
eant  for  Margaret  of  Anjou,  i,  148;  —  not  the 
author  of  the  1415  "entry,"  i,  136;  — HKbats  by, 
Vi_w-; —  and  the  1432  "entry,"  i,  141,  and  n. 
27 — and  Middleton  (1432  and  1613),  ii,  33, 
n.  2; — and  the  mumming,  i,  106  f.,  and  n. 
4;  —  and  the  Paris  "entry"  of  1431,  i,  140, 
and  n.  6. 

Lyly,  master  of  Colet's  School,  paid  for  writing 
speeches  (1522),  i,  175;  —  work  of,  i,  179. 

Lyons,  Master,  Mayor  of  London  (1554),  ii,  15. 

Lyons,  student  carnival  at  (1910),  ii,  147,  n.  4;  — 
feux  d' artifice  at  (1660),  i,  240;  —  inn-signs  per- 


394 


INDEX 


sonified  at  (1627),  i,  77,  n.  i;  — peace  celebrated 
at  (1660),  i,  240;  —  symbolism  planned  by 
Americans  at,  ii,  300. 

Mac  Arthur,  William,  on  the  Orange  processions, 
ii,  180,  and  n.  i. 

McComb,  the  Rev.  S.,  pictured  at  Belfast  (1914), 
ii,  r8i. 

MacCracken,  H.  N.,  on  Lydgate's  use  of  allegory, 
i,  1 08;  —  on  the  authorship  of  the  1432  "en 
try,"  i,  141,  n.  2. 

MacDowell,  Edward,  a  tribute  to,  ii,  264. 

McMordie,  R.  J.,  pictured  at  Belfast  (1914),  ii, 
181. 

Mace  and  sword  borne  before  mayor,  ii,  67. 

Machine-made  pageants,  ii,  290. 

Machyn,  Henry,  describes  London  Shows  (1553- 
1561),  ii,  13  f.;  —  notes  wodyn  or  wodys  in  1553 
and  1554,  i,  77. 

MacKaye,  Miss  Hazel,  describes  the  Washington 
masque  of  1913,  ii,  285. 

MacKaye,  Percy,  author  of  the  St.  Louis  masque 
(1914),  ii,  273,  n.  i;  —  his  "ritual"  of  citizen 
ship,  ii,  290;  —  on  "Caliban,"  ii,  289;  —  on 
Fourth  of  July  pageantry,  ii,  303;  —  on  "a 
substitute  for  war,"  ii,  301  f.;  —  on  war  and  the 
community  drama,  ii,  290;  —  and  Parker,  the 
aims  and  methods  of,  ii,  302. 

Madad  of  Ireland  (London,  1522),  i,  177. 

"Mad  Morion,"  i,  7,  n.  3. 

Madrid,  a  tournament  at  (1623),  i,  99. 

Magi,  the  (Aberdeen,  1511),  i,  170. 

Magistrates'  Room,  the,  in  Guildhall  used  by  Mr. 
Marriott  (1822),  ii,  107. 

Magistrate  (London,  1662),  i,  248. 

Magnanimity  (London,  1585),  ii,  24;  ii,  77;  — 
(London,  1628),  ii,  39;  —  habited  like  a  Roman 
general  (1664),  ii,  84. 

Magnus,  Olaus,  i,  4;  i,  112,  n.  7. 

Magi,  the,  at  Coventry  (1474),  i,  153,  and  n.  6;  — 
at  Paris  (1431),  i,  140. 

Magog,  i,  59  ff.    See  also  Gogmagog. 

Maguin,  Nicholas,  captain  of  children's  company 
(Metz,  1604),  i,  226. 

Maharajah,  a  (London,  1910),  ii,  189. 

Mahouts,  Indian  (London,  1890),  ii,  126. 

Maid  Marian,  in  May-Day  mummings,  i,  7,  and 
n-  3;  i,  65,  n.  i;  —  (Coventry,  1862),  ii,  170;  — 
(Knutsford,  1913),  ii,  154;  —  (Sherborne,  1905), 
ii,  210;  —  (Winchester,  1908),  ii,  225. 

Maidstone,  Richard,  his  account  of  the  1392  "en 
try,"  i,  130,  notes  i  and  2;  i,  131,  and  notes  i 
and  2. 

"Makers  of  England,  the"  (1914),  ii,  228. 

Malcolm  III  (Edinburgh,  1908),  ii,  214. 

Malin,  water-bailiff,  has  a  hand  in  the  1662  "tri 
umph,"  i,  250. 

Malines,  giants  at  (1838),  i,  55,  n.  2;  —  ship  at 
(1838),  i,  12,  n.  3. 


Malory,  Sir  Thomas  (London,  1908),  ii,  135. 
Mamelukes,  band  dressed  as  (Antwerp,  1803),  i, 

254- 

Mamertus,  Bishop  of  Vienna,  i,  14. 

Man,  a,  a  "subtlety"  of  i,  83. 

"Man  in  armor"  and  "champion,"  i,  48;  —  at 
Chester,  i,  44;  i,  47 ;  —  the  origin  of  the  effigy  of 
Peeping  Tom,  ii,  167,  and  n.  2;  —  in  the  1773 
procession,  ii,  97,  and  n.  3;  —  a  trade-figure 
(1761),  ii,  95,  and  n.  3.  See  also  Armed  man  and 
Knight. 

"Man  in  brass"  pictured  (1844),  ii,  113,  n.  2. 

"Man  in  the  Moon,  the"  (Revere,  1912),  ii,  254. 

"Men  in  Armor,"  ch.  i,  §  3  (i,  47  f.);  —  (knights) 
at  Dublin,  i,  31;  i,  48,  n.  2;  —  at  Greenwich 
May  games  (1559),  i,  203;  —  attend  the  Queen 
(1560),  i,  203;  —  at  Lichfield,  i,  48,  n.  2;  —  at 
Preston,  i,  34;  —  a  trade  figure,  i,  48;  —  [watch 
men],  (Quebec,  1908),  ii,  240;  ii,  241;  —  ["har 
ness"],  (not  probably,  pageantic),  in  1518,  i,  173; 
—  (1700),  ii,  68;  —  and  the  military  (1821),  ii, 
105  f.;  —  dispensed  with  (1821),  ii,  106;  —  re 
appear  (1822),  ii,  io6f.;  —  (1823),  ii,  108;  — 
(1824),  ii,  109;  — (1825),  ii,  109;  — in  1839,  ii, 
in;  —  one  of  the,  hurt  in  1842,  ii,  112;  — 
(1843),  ii,  112,  n.  i;  — (1844),  ii,  113,  n.  i;  — 
(1847),  ii,  113;  — (1848),  ii,  113;  — (1849),  ii, 
113;  —  displacement  of,  suggested  (1850),  ii, 
114;  — (1857),  ii,  118;  — (1879),  ii,  120,  and 
n.  4;  —  personify  states  (New  York,  1912),  ii, 

255- 

"Manhattan  Island,  the  Purchase  of,"  (New 
York,  1909),  ii,  243. 

Mann,  John,  his  servant  paid  for  riding  to  borrow 
for  the  Mary  (1534-35),  i,  26,  n.  5. 

Manners,  Sir  John,  knighted  at  Worksop,  i,  222, 
n.  i. 

Manufactures  represented  (1850),  ii,  115;  ii,  116. 

Marblehead,  "From  Kingdom  to  Colony,"  given 
at  (1912),  ii,  277;  —  Historical  Society,  ii,  277. 

Marching  clubs  in  the  St.  Louis  procession  of  1847, 
ii,  238. 

Marching  Watch,  the,  i,  36  ff. 

"Marconi  and  the  Wireless  Telegraph"  (Boston, 
1912),  ii,  247. 

Mardi  Gras,  a  suggestion  of,  in  the  St.  Louis  pro 
cession,  ii,  238;  —  carnival,  the,  at,  ii,  252;  — 
celebration  at  Revere  in  September,  ii,  254,  and 
n.4. 

Marfin,  Sir  Thomas,  ancestor  of  Cromwell,  ii,  124. 

Margaret  of  Anjou  at  London,  i,  148;  —  of  Eng 
land,  at  Edinburgh  (1503),  i,  i68f.;  —  enter 
tained  by  pageantic  tournament  (1503),  i,  96;  — 
of  France  at  London  (1300),  i,  125;  —  of  Scot 
land  at  Aberdeen  (1511),  i,  170. 

Margaret,  Queen  (Coventry,  1848),  ii,  170;  — 
(Coventry,  1862,  ii,  170. 

"Mari  Llwyd,"  i,  17. 

Mariane  (Avignon,  1600),  i,  220. 


INDEX 


395 


Marie  of  Austria  marries  the  Duke  of  Brabant 
(i853),  i,  256. 

Marie  de  V Incarnation,  Mere  (Quebec,  1908),  ii, 
263. 

Maries,  the  three  (London,  1533),  i,  183. 

Marietta  Pageant,  the,  of  1888,  ii,  258. 

Marine  boys  in  the  1833  Show,  ii,  no;  —  in  the 
1839  Show,  ii,  in;  —  in  the  1849  Show,  ii,  114. 

Market-place  of  Salt,  the  (Edinburgh),  i,  213. 

Markets,  the  City,  represented  by  cars  (1890),  ii, 
125- 

Markoe,  F.  H.,  master  of  the  Yale  Pageant,  ii, 
274,  n.  i. 

Marlborough,  the  Duke  of,  received  at  Goldsmiths' 
Hall  (1704),  i,  253,  n.  2; — at  Vintners'  Hall 
(1706),  i,  253,  n.  2;  —  troops  of,  in  the  1897 
"tournament,"  ii,  188;  —  on  a  transparency 
(1814),  ii,  162. 

Marlborough,  Duke  of  (London,  1889),  ii,  124;  — 
(London,  1911),  ii,  137;  —  (London,  1914),  ii, 
228,  n. 2. 

Marlowe,  Christopher  (London,  1908),  ii,  135. 

Marlowe's  "Edward  the  Second^"  drawn  on  for  a 
Warwick  episode,  ii,  219;  —  provides  part  of  a 
scene  in  the  Scarborough  Pageant,  ii,  219,  n.  3. 

"Marquette,  Pere,  and  the  Indians"  (Boston,  1912), 
ii,  247;  reception  of  (St.  Louis,  1892),  ii,  253, 
n.  6. 

"Marriage  between  Wit  and  Wisdom,"  the,  i,  104. 

Marrington,  Lord  (Boston,  1910),  ii,  267. 

Marriott,  [Henry],  and  "Men  in  armor"  (1815),  ii, 
104,  n.  5;  —  and  "men  in  armor"  (1821),  ii, 
105  f.;  —  and  the  Committee  (1821),  ii,  105  f.;  — 
(1822),  ii,  107;  — owner  of  armor  (1822),  ii,  108; 
—  in  charge  of  1822  procession,  ii,  108;  —  con 
sulted  in  1823,  ii,  108;  —  called  on  for  "men  in 
armor"  (1825),  ii,  109;  —  and  "armed  men" 
(1833),  ii,  109  f.;  —  called  on  for  "men  in  ar 
mor"  in  1839,  ii,  in;  —  and  Smith  paid  for 
"knights"  (1847),  u',  113;  —  and  "men  in  ar 
mor"  (1848),  ii,  113,  and  n.  6; —  and  "men  in 
armor"  (1849),  ii,  113. 

Mars  (Avignon,  1600),  i,  220;  —  grovelling  at  the 
feet  of  Peace  (London,  1604),  i,  225;  —  castle  of 
(London,  1635),  ii,  42;  —  painted  (London, 
1661),  i,  245;  —  (London,  1691),  i,  145,  n.  3. 

Martia  (Norwich,  1578),  i,  82;  i,  211. 

Martians,  the  (Revere,  1912),  ii,  254. 

Marten,  Master,  sheriff  of  London  (1559),  ii,  17. 

Martin,  Humphrey,  recipient  of  Laneham's  letter 
(1575),  i,  207,  n.  4. 

"Martyrs"  (London,  1415),  i,  134,  and  n.  3:  — 
(London,  1421),  i,  138. 

Mary  Draper  Chapter,  D.  A.  R.,  the,  gives  scene  in 
the  Boston  "festival"  of  1897,  ii,  261. 

Mary  of  Guise  at  Edinburgh  (1538),  i,  185;  — 
Princess,  at  Coventry  (1525),  i,  179;  —  dances 
at  a  masque  with  pageantic  background  (1528), 
i,  117;  —  Queen,  at  London  (1553),!,  i88f.;  — 


received  with  Philip  II  at  London  (1554),  i,  189  f. 

—  grateful  for  the  1554  reception,  i,  194,  n.  2;  — 
death  of  (1558),  i,  198;  —  Queen  of  Louis  XII, 
at  Abbeville  and  Paris  (1513),  i,  171  f.;  —  Queen 
of  Scots,  wedding  of  (Rouen,  1558),  i,  98;  —  at 
Edinburgh,  i,  194  f.;  —  at  Chenonceau  (1559), 
i,  202  f.;  —  at  Edinburgh  (1561),  i,  203. 

"Mary  Magdalene,"  i,  108;  i,  no. 

Mary  and  Joseph  (Dublin,  1528),  i,  179;  —  Tudor 
(Bury  St.  Edmunds,  1907),  ii,  224,  n.  7;  —  in 
cluded  among  the  Worthies  (1554),  i,  191,  and 
n.  2;  — personified  (London,  1554),  i,  194. 

Maschararum,  i,  4. 

"Mask"  and  "masque,"  i,  102,  n.  5. 

"Masonic  Pavilion"  (Swansea,  1881),  i,  257. 

Masons,  expenses  of,  for  Lord  Mayor's  Day  dinner, 
(1722),  ii,  88;  —  expenses  of  the,  in  1688,  ii,  64, 
n.  4;  — expenses  of,  in  1695,  ii,  66,  n.  3;  —  the, 
in  the  St.  Louis  procession  (1847),  ii,  238. 

Masons  Hall  Tavern,  ii,  114. 

"Masque",  "barriers,"  and  "entertainment"  dis 
tinguished,  i,  115. 

Masque,  the,  after  the  christening  banquet  of  a 
Scottish  prince  (1595),  i,  218;  —  at  Court,  i, 
ioif.;  —  with  debat,  tourney,  and  pageant 
(1528),  i,  ii6f.;  — early  (1285),  i,  103;  (1377), 
i,  104;  — features  of,  in  the  Sherborne  Pageant, 
ii,  211;  —  fixed  stage  of,  i,  85;  —  and  folk- 
mumming,  i,  105;  —  growth  of,  ch.  ii,  §3  (i, 
in  f.;  i,  119,  n.  2);  —  influence  of,  on  scenery, 
i,  120;  —  influence  of  Italy  on,  i,  121  f.;  — 
metamorphoses  pageantic  material,  i,  121;  — 
in  the  modern  pageant,  ii,  222  f.;  —  a  natural 
growth,  i,  103;  —  and  the  pageant,  i,  105;  i,  119; 

—  differentiated,    i,    121;  —  and    pageant    in 
America,  ii,  288;  —  the  "soul"  of  pageantry  in, 
i,  85;  —  the  spirit  of,  i,  xviii;  i,  85;  ii,  283;  ii, 
294;  —  suggestion    of    an    influence    from    the 
London  civic  shows  on,  i,  216,  n.  4;  i.  217;  —  a 
suggestion  of,  in  the  Peterborough  Pageant,  ii, 
264;  —  the  "technique"  of,  i,  85,  ii,  283;  ii,  288; 
—  the    "technique    of,"    combined    with    the 
"spirit"  of  pageantry,  i,  7,  ii,  294;  —  at  White 
hall  (1572),  i,  117;   i,  205,  n.  i.    See  also  Dis 
guising. 

"Masque  of  Charterhouse,"  the,  ii,  227; — Im 
perial,  the,  of  the  "Festival  of  Empire,"  in 
cludes  allegory,  ii,  225; — of  Learning,  the,  ii, 
226  f.,  and  n.  4;  ii,  281;  —  of  Learning,  the 
subject  of  the,  ii,  203,  n.  i;  —  compared  with 
the  Scottish  National  Pageant,  ii,  207,  n.  3;  — 
of  the  Mediaeval  Curriculum,  the  (Oxford,  1907), 
i,  145,  n.  2;  ii,  222  f.;  —  the,  at  St.  Louis,  re 
sembles  a  "morality  play,"  ii,  273;  —  of  the 
Seasons,  the,  at  Edinburgh  (1908),  ii,  223!;  — 
the  woman-suffrage  (Washington,  1913),  ii, 
284  f. 

Masques  reproduced  by  Nugent  Monck,  ii,  196, 
n.  i;  —  cost  of,  temp.  James  I,  i,  118;  ii,  206, 


396 


INDEX 


n.  2;  —  early  ones  at  Court,  i,  102  f.;  —  at 

Greenwich  (1588),  i,  214. 
"Masquerade"  develops  into  "masque,"  i,  106. 
Masquerades  and  pageants,  ii,  146  f.    See  Revels. 
Masquerading,  a  popular  pastime,  i,  103. 
"Massacre,  the  Boston"  (Boston,  1897),  ii,  261. 
Massachusetts,    General    Court   of,    enacts    bills 

against  pageants  (1752-1797),  ii,  176  f. 
Massasoit,  scene  of  the  discovery  of,  the  site  of 

history  revived  (Plymouth,  1801),  ii,  236. 
"Massasoit,  the  Treaty  with"  (Plymouth,  1896), 

ii,  259- 

Massianello,  ghost  of,  at  reception  to  Monk,  ii,  57, 
n.  i. 

Massinger,  Philip  (London,  1908),  ii,  135. 

"Master  of  the  revels"  (Ripon,  1886), ii,  159;  ii,i6o. 

Masters,  the  Boston,  give  scene  in  the  Boston 
"festival"  (1897),  ii,  261. 

Mawfield,  Gilbert,  sheriff  (1392),  ii,  5. 

Maxim  gun  in  the  1896  Show,  ii,  128. 

May-day,  animals  at,  i,  65,  and  n.  i;  —  "Jack-in- 
the-Green,"  at,  i,  70;  —  in  Ireland,  i,  73,  n.  3 ;  — 
at  Knutsford,  i,  10;  ii,  153  f.;  —  procession  sug 
gested  in  a  section  of  that  at  St.  Louis  in  1847, 
ii,  238;  —  revels  antedating  1867,  ii,  159;  — 
revels  in  the  Chester  Pageant,  (1910)  ii,  224;  — 
revels  in  the  "Festival  of  Empire"  (London, 
1911),  ii,  224,  n.  3;  —  at  Salisbury,  i,  65;  — 
ships,  on,  i,  12. 

"Mayflower,"  a  reproduction  of  the,  planned 
(1920),  ii,  276;  —  tercentenary  celebration  of  the 
voyage  of  the,  planned,  ii,  276. 

May-games  at  Greenwich  (1559),  i,  203;  —  and  St. 
George,  i,  24,  n.  i;  i,  65. 

Maying,  1300  (in  the  1889  Show),  ii,  124. 

Mayne,  John,  writes  verses  for  the  1822  "entry," 
i,  255,  n.  5. 

Mayor  and  Aldermen  in  a  tournament  at  London, 
(1360),  i,  95. 

"Mayor  of  the  Bull  Ring,"  the,  i,  22. 

Mayor  in  the  Coventry  procession  of  1826,  ii,  167, 
and  n.  4;  —  feast  of  the,  omitted  on  account  of 
plague  at  London,  (1563),  i,  203,  n.  5;  —  granted 
London  citizens  by  John,  ii,  3;  —  guest  at  a 
tourney  (1533),  ii,  975  —  to  be  presented  to  king 
or  royal  justices,  ii,  3; — in  Ripon  procession,  ii, 
160;  —  and  sheriffs  deposed  (1392),  ii,  4  f. 

Mayors,  former,  representations  of,  in  civic  shows: 
(1590),  ii,  25;  (1614),  ii,  36;  (1615),  ii,  78,  n.  4, 
(1616),  ii,  80;  (1617),  ii,  81;  (1623),  ii,  78; 
(1626),  ii,  78,  n.  4;  (1680),  ii,  79;  (1693),  ii,  80; 
(1700),  ii,  68,  and  80;  [in  the  1783  pantomime, 
ii,  99  f.];  (1884),  ii,  123;  (1889),  ii,  125;  (1895), 
ii,  127;  (1906),  ii,  132  i.;  (1913),  ii,  138,  in 
civic  shows,  representations  of,  see  also  under 
the  individual  names  of  the  Mayors. 

Mayors,  former,  in  the  Coventry  processions  of 
1848  and  1862,  ii,  170,  and  notes  2  and  7;  — 
given  allegorical  significance,  ii,  78,  and  n.  4. 


Mayor's  wife,  the,  as  the  Genius  of  the  City  (Ripon, 
1886),  ii,  161. 

"  Mayor's  Mount "  at  Chester,  i,  44  ff.,  and  notes. 

"Maypole,"  a,  or  Cedar,  in  the  Strand  (London, 
1661),  i,  243,  n.  i. 

Maypole  dance,  a,  at  Marblehead  (1912),  ii,  278;  — 
dances  (Chester,  1910),  ii,  224;  —  dancers  in 
Ripon  procession  (1886),  ii,  161; —  dancing,  i, 
10. 

Maypole,  a  (Lichfield,  1913),  ii,  152;  —  a,  in  the 
Sherborne  Pageant,  ii,  211. 

Maypoles  in  various  cities,  ii,  155. 

May  Queen,  (Boston,  1897),  ii,  260,  n.  3;  —  (Cam 
bridge,  1919),  ii,  284;  —  (Coventry,  1851),  ii, 
170,  n.  3;  —  (Lichfield,  1913),  ii,  152;  —  (Milton, 
1914),  ii,  154;  — of  Knutsford  in  the  fiftieth 
aniversary  procession  (1914),  ii,  154. 

"May  Queen,  the,"  song  from,  at  Sherborne  (1905), 
ii,  211. 

Meadows,  Spirits  of  (London,  1911),  ii,  225. 

"Meal-tub  plot,  the,"  ii,  173,  n.  i. 

Mechanical  angel  (London,  1392),  i,  130;  —  (Lon 
don,  1415),  i,  135,  n.  3;  —  (London,  1553),  i,  188; 
—  (Reggio,  1453),  i,  149,  n.  4;  — animals  in 
"royal-entries,"  i,  138;  i,  196;  — beasts  (Lon 
don,  i522),i,  177;  — device,  a,  [the  Wounds  of 
Christ  running],  (Paris,  1498),  i,  163;  — devices 
at  Bristol  (1486),  i,  160;  —  devices  (signs  of  the 
Zodiac),  (London,  1501),  i,  167,  notes  5  and  6; 
—  devices  (London,  1522),  i,  177;  — devices 
at  York  (1486), i,  159, notes  i  and  3;  —giant, a 
(London,  1421),  i,  137  f.;  — globe  (Edinburgh, 
1579),  i,  212;  — hearts  (Paris,  1431),  i,  139;  — 
lions  (London,  1547),  i,  1 86; —  pageants,  influ 
ence  of,  on  stage  (London,  1522),  i,  178;  —  rose 
(London,  1522),  i,  177;  —  wonders  of  the  1613 
Show,  ii,  34  f.;  —  wonders  of  a  pageant  (1622), 
ii,  77- 

Medea  (London,  1522),  i,  176. 

de  Medici,  Cosimo,  tournaments  in  the  time  of,  at 
Florence,  i,  99,  n.  i ;  —  Marie,  at  Avignon  (1600), 
i,  220;  —  Pietro,  tournaments  in  the  time  of,  at 
Florence,  i,  99,  n.  i. 

Medici  family,  characters  of  the,  at  Avignon 
(1600),  i,  220. 

Medicine  (Edinburgh,  1908),  ii,  214;  —  (Oxford, 
1907),  ii,  223. 

"Mediaeval  Curriculum,  the  Masque  of  the," 
(Oxford,  1907),  ii,  222  f. 

Mediaeval  period,  the,  in  "The  Masque  of  Learn 
ing,"  ii,  227. 

Medway  (London,  1661),  i,  245. 

Meekness  (London,  1613),  ii,  34. 

Meister singer,  a  (Hamburg,  1852),  ii,  147,  n.  4. 

"Meistertrunk,"  play  of  the,  at  Rothenburg,  ii, 
197;  ii,  205,  n.  3. 

Melancthon  (Boston,  1908),  ii,  283. 

Meliades,  the  master  of  Bonvaleir,  i,  97. 

Melibaeus  (Sudeley,  1592),  i,  218. 


INDEX 


397 


Melrose,  Abbot  of,  with  model  of  the  Monastery, 

(Ripon,  1886),  ii,  160. 

"Melting-pot,  motif,  the,"  (Boston,  1912),  ii,  245. 
Melton  William,  divides  procession  and  play  at 

York  Corpus  Christi  celebration  (1426),  i,  21. 
Memory  (London,  1623),  ii,  79;  —  (York,  1909),  ii, 

214,  n.  i. 
"Men  in  armor," — see  Man  in  armor,  —  also 

Armed  men,  and  Ancient  knights. 
Men  of  Kent,  with  Falconbridge  (London,  1907), 

ii,  134- 

Menalippe  (Paris,  1431),  i,  138,  n.  4. 

Menameset,  ii,  280. 

Menelaus  (Winchester,  1908),  ii,  225. 

"Mensa  Rotunda"  —  see  Round  Table. 

Mephistophilis  (Lichfield,  1893),  ii,  150;  —  (Lon 
don,  1908),  ii,  135. 

Mercatura  (London,  1684),  ii,  62. 

Mercers,  the,  accompany  sheriffs  by  water  (1422), 
ii,  6;  —  bear  the  charge  of  the  1688  Show,  ii,  64; 
—  barge,  the,  meets  Elizabeth  (1559),  i,  199!  — 
represented  by  Mercatura  (1684),  ii,  62 ;  —  school 
of,  [St.  Paul's  school],  i,  225;  i,  228;  —  Virgin, 
the,  ii,  82,  and  n.  8;  —  Virgin  (1655),  ii,  44;  — 
Virgin  of  the,  in  the  1662  "triumph,"  i,  248;  — 
Virgin  in  1686,  and  "greenmen,"  ii,  63,  n.  6;  ii, 
85;  Virgin  described  by  Celia  Fiennes,  ii,  67. 

Mercers  (London,  1783),  ii,  99. 

"Merchant-mount,"  the,  at  Chester,  i,  45,  n.  5; 
ii,  224. 

Merchants  (pageantic),  (London,  1533),  i,  182,  n.  4. 

Merchants,  rise  of,  in  the  Netherlands,  i,  55. 

Merchant  Seamen's  Orphanage,  the  Royal,  boys 
from  the,  in  the  1913  Show,  ii,  138. 

Merchant  ships  engage  with  Turkish  Pirate  (Lon 
don,  i6io),i,  232. 

Merchant-strangers  to  contribute  pageants  (Lon 
don,  1554),  i,  190;  —of  the  Steelyard  (1554),  i, 
192. 

Merchants'  trade,  the,  symbolized  by  a  ship  (1638), 
ii,72. 

Merchant-Taylors'  arms  on  streamers  (1553),  ii, 
13;  — dispute  with  Skinners,  ii,  9;  — history  of, 
recounted  (1605),  ii,  29; — pageant  of  the,  in 
the  1662  "triumph,"  i,  248; — provide  cresset- 
bearers  for  Midsummer  Eve  muster  (1567),  i, 
42; — in  the  1822  procession,  ii,  108;  —  the 
1602  properties  of  the,  used  in  1605,  ii,  28  f.;  — 
records  of  the,  concerning  the  1561  Show,  ii,  18  f., 
and  notes;  —  ruling  about  breakfast  and  smok 
ing  (1768),  ii,  97;  —  represented  by  Vestiaria 
(1684),  ii,  62;  —  Show  of  the  (1602)  ii,  27  f. 

Merchant-Taylors  (London,  1783),  ii,  99. 

"Merchester,"  the  Pageant  of,  ii,  204. 

Mercury  (Avignon,  1600),  i,  220;  —  (Chester, 
1610),  i,  230,  and  n.  3;  —  (Edinburgh,  1503),  i, 
169,  and  n.  i;  —  (Edinburgh,  1633),  i,  236;  — 
(London,  1533),  i,  183;  —  (London,  1612),  ii, 
32;  —  (London,  1692),  ii,  73. 


Mercy,  in  the  "  Chasteau  d'Amour,"  i,  80;  —  (Edin 
burgh,  1908),  ii,  223;  —  (London,  1432),  i,  145; 
i,  146,  and  n.  3;  — (London,  1547),  i,  186; — 
(London,  1554),  i,  194. 

"Mermaid,"  pageant  of  the,  given  to  "common 
alty"  of  Norwich,  ii,  12. 

Mermaids  (London,  1612),  ii,  32;  —  (London, 
1616),  ii,  80,  n.  6;  —  (London,  1628),  ii,  39. 

Mermen  and  Mermaids  (1700),  ii,  69;  —  (1761),  ii, 
95;  ii,96. 

Merry  Andrew  i,  7,  n.  i;  —  (Chester,  1910),  ii, 
224. 

Merry  Mount,  revels  at,  ii,  236,  n.  4;  ii,  286. 

[Meschianza,  the]  a  tournament  during  the  Revo 
lution,  ii,  286. 

Metrical  romances,  i,  xvii;  —  tournament  in,  i, 
89. 

Metropolis  (London,  1684),  ii,  61. 

Metz,  Henri  IV  at  (1604),  i,  226. 

Mexican  Joe  (Lichfield,  1893),  ii,  150. 

"Mexican  War,  the,"  scene  entitled  (Norristown, 
1912),  ii,  250. 

Mexico  (St.  Louis,  1892),  ii,  253,  n.  6. 

"Mi-careme"  carnivals  of  students  in  France,  ii, 
147,  n.  4. 

Middies  (Knutsford,  1913),  ii,  154. 

Middleton,  Hugh,  and  the  1913  giant,  {,63. 

Middleton,  Sir  Thomas,  Mayor  of  London  (1613), 

ii,33- 

Middleton,  Thomas,  contributes  a  speech  to  the 
1604  "entry,"  i,  222,  n.  i;  i,  223;  i,  225;  —  and 
Munday  collaborate  (1623),  ii,  38;  — gives  alle 
gorical  significance  to  former  mayors,  ii,  78,  and 
n.  4; — paid  to  provide  the  pageants  in  1617, 
ii,  37,  n.  5;  ii,  206,  n.  2;  — wins  theVi6i7  Show 
from  Dekker  and  Munday,  ii,  37;  —  writes 
"Civitatis  Amor,"  i,  233;  —  and  the  1626  pag 
eants,  i,  235. 

Middleton's  "Triumphs  of  Truth"  (1613),  i,  in; 
ii,  33  f.;  ii,  213  f.;  —  "Triumphs  of  Health  and 
Prosperity"  (1626),  ii,  39,  n.  i. 

Middleton,  Hugh  (London,  1913),  ii,  36;  ii,  138,  and 
n.  2. 

Middleton,  Sir  Thomas  (London,  1895),  ii,  127;  — 
(London,  1906),  ii,  132; — with  his  immediate 
predecessor  (London,  1913),  ii,  139. 

Midsummer  Eve,  the  muster  on;  (1567),  i,  42;  — 
giant  of  the  Drapers'  named  (1522),  i,  195.  n. 
2 ;  —  Show  transferred  to  Mayoralty  proces 
sion,  ii,  H;  —  cresset-  or  torch-bearers   of,  i, 
41,  and  n.  i;  i,  42,  and  n.  2;  i,  72;  i,    73.  — 
Shows  in  the  Provinces,  i,  43-47;  —  at  Chester, 
i,  43  ff;  i,  50;  i,  64;  —  Watch,  i,  32;  i,  36  ff.;  - 
decay  of,  at  London,  i,  41  ff . 

Milbourne,  Sir  John  (London,  1623),  ii,  78. 

Military  State  (Antwerp,  1803),  i,  254. 

Milkmaid  and  cow  in  early  Knutsford  processions, 
ii,  154,  n.  4. 

Milk  Street  end  (London,)  ii,  51,  n.  2. 


398 


INDEX 


Millbrook  May  Day,  i,  12. 

Millers'  car  in  the  Ripon  procession  (1886),  ii,  160. 

Mills,  Peter,  surveyor  of  the  city,  engineer  of  the 
1 66 1  pageantry  for  Charles  II,  i,  243; — an 
engineer  of  the  1662  "triumph,"  i,  250. 

Milner,  Miss  Edith,  arranged  revels  at  Grimston 

(1884),  ii,  159- 

Milton,  procession  at,  a  revival  of  May-Day  festiv 
ities  ii,  154. 

Milton,  John,  on  pageantic  tournaments,  i,  100, 
n.  i;  —  the  introduction  of  the  Chester  Pageant 
draws  on,  ii,  215. 

Milton,  John  (London,  1908),  ii,  135. 

Minehead,  May-day  ship  at,  i,  u,  n.  4;  i,  12. 

Miner,  a  Canadian  (Knutsford,  1913),  ii,  153. 

Minerva  (Avignon,  1600),  i,  220;  —  (London, 
1628),  ii,  39;  —  (London,  1676),  ii,  77,  n.  3;  — 
(London,  1676),  ii,  79,  n.  2;  — (Paris,  1513),  i, 
171;  —  on  a  banner  (St.  Louis,  1847),  ii,  238. 

Mines  and  Miners  (Providence,  1919),  ii,  289. 

Mining,  School  of,  represented  in  the  1906  Show, 
ii,  132. 

Minister,  the,  (Boston,  1910),  ii,  266,  n.  2;  ii,  267. 

Minneburg,  the,  i,  115,  n.  3. 

Minstrels,  ch.  i,  §  4  (i,  49  ff.); — at  Coventry,  i,  49; 

—  at  Leicester,  i,  16;  —  in  London  "ridings," 
i,  49,  n.  4. 

Minstrel,  a  (Hamburg,  1852),  ii,  147,  n.  4. 

Minstrelsy  represented  by  troubadours  (Boston, 
1908),  ii,  283. 

Minutaria  (London,  1684),  ii,  62. 

Minute,  a  (London,  1677),  ii,  74;  ii,  191. 

Miracle-play  and  modern  pageant,  technical  de 
velopment  of,  ii,  211,  n.  5. 

Miracle-plays,  old,  reproduced  in  modern  pageants, 
ii,  219,  and  n.  i;  —  reproduced  by  Nugent 
Monck,  ii,  196,  n.  i;  —  not  pageants,  i,  xvi,  and 
n.  4;  —  movable  wagons  from,  i,  xix. 

Mirfin,  Mayor  of  London  (1518),  i,  173,  n.  5. 

Mirtillo  (London,  1684),  ii,  62. 

Mission  Church  children  from  the  (Boston,  1912), 
ii,  246. 

"Miss  Matty's  Tea  Party"  (Knutsford,  1914),  ii, 

IS4- 
Missouri  (St.  Louis,  1886),  ii,  253,  n.  4;  —  (St. 

Louis,  1892),  ii,  253,  n.  6. 
"Missourian,  a  native,  inaugurated  President  of 

the  United  States"  (St.  Louis,  1892),  ii,  253,  n.  6. 
Mists,  Spirits  of  (London,  1911),  ii,  225. 
Mixelburgh,  place  for  tournament  near,  i,  89. 
Mock  assault  of  a  castle  at  a  masque  (1501),  i,  114; 

—  battle  (Bristol,  1574),  i,  206  f.; —  or  fighting 
show  (London,   1638),  i,   237  f.,  —  (Sandwich, 
iS73)>  i,  206;  — (Warwick,  1572),  i,  206,  and 
n.  2. 

"Mock-execution"  of  tree-spirit  in  Bavaria,  i,  51, 

n.  2;  i,  72. 
Mock-fight   between  English   and   foreign  fleets 

(1814),  ii,  162 ;  —  between  characters  in  out-door 


masque  (Elvetham,  1591),  i,  216;  —  between 
Envy  and  Virtue  (1612),  ii,  32;  —  at  Naples 
(1443),  i,  147,  n.  2;  —  in  civic  water-progress 
(1656),  ii,  45  f.;  —  in  an  Oxford  interlude,  ii, 
223;  —  in  revels  at  Diisseldorf  (1852),  ii,  147; — 
at  Scarva  (1914),  ii,  186. 

Mock-fighting,  dance,  and  speech,  in  folk-plays,  i, 
105. 

Mock-fights  at  London  "Royal  Naval  and  Mili 
tary  Tournament,"  ii,  187  f. 

"Mock  sacrifices,"  i,  51,  n.  2. 

Mock-struggle  between  Truth  and  Error  (1613) 
has  a  moral  flavor,  ii,  34  f.;  —  tournament  at 
Ripon  (1886),  ii,  161;  ii,  185. 

Model  of  Melrose  in  the  Ripon  procession  (1886), 
ii,  160;  —  the  "Mountjoy"  (Belfast,  1914),  ii, 
181;  — Penn's  house  at  Upland  carried  in  pro 
cession  (Chester,  1882),  ii,  240;  —  a  Thistle 
(Edinburgh,  1832),  ii,  166. 

Models  in  the  1907  Show,  ii,  133  f.;  —  of  canoe  and 
ocean  liner  (New  York,  1909),  ii,  243;  —  of  cap 
tured  cities  in  the  1914  "Tournament,"  ii,  189; 

—  of  churches  and  the  "Old  Academy"  in  the 
Norristown  procession  of  1912,  ii,  249,  and  n.  3; 

—  printing-press  and  ships  (1902),  ii,   129;  — 
ships  (St.  Louis,  1847),  ii)  237;  —  ships  and  loco 
motives  (Philadelphia,  1882),  ii,  240. 

Modena,  Duke  of,  his  daughter  marries  the  Duke 

of  York,  ii,  172. 

"Modernity,"  a  Parkerian  protest  against,  ii,  195. 
Modern  pageant,  the,  see  pageant. 
"Modern  pageant,  the,"  and  "pageant  of  modern 

times,"  ii,  195,  n.  i. 
Modesty  in  a  masque  at  Norwich,  (1578),!,  211;  — 

(London,  1613),  ii,  34;  —  (London,  1618),  ii,  38. 
Monodnock  (Keene,  1913),  ii,  271,  n.  4. 
Monarchic,  (London,  1604),  i,  223. 
Monarchy,  Britain's,  (London,  1661),  i,  244. 
Monck,  Nugent,  and  his  work,  ii,  196,  n.  i;  ii,  229, 

n.  2. 
Monk,  General,  received  by  the  Companies  (1660), 

ii,  57,  n.  i. 

Monk,  General  (London,  1911),  ii,  137. 
Monk,  a  (Edinburgh,  1908),  ii,  214. 
Monks  with  St.  Wilfred  (Ripon,  1886),  ii,  160. 
Monologues,  i,  xix. 

Monotony  of  shows  explained,  ii,  65  f. 
Mons,  giants  at,  i,  55,  n.  2. 
Monsters,  related  to  giants,  i,  54. 
Montagu,  Lady  Mary  Wortley,  describes  show  at 

Adrianople  (1717),  ii,  87  f. 
Montcalm,  soldiers  of,  (Quebec,  1908),  ii,  240. 
Montcalm  (Quebec,   1908),  ii,  263,  and  n.  4;  ii, 

264. 

"Mont  de  Parnasse"  at  Lyons  (1627),  i,  77,  n.  i. 
Montacute,  William  of,  keeps  a  tournament  in 

Cheap  (1331),  i,  90. 
Montedute,  Lord,  entertains  Elizabeth  at  Cowdray 

(1591),  i,  216. 


INDEX 


399 


"Montezuma,  meeting  of,  and  Cortez"  (St.  Louis, 
1886),  ii,  253,  n.  4. 

Montfort  Castle,  ii,  182,  n.  2. 

Montfort,  Simon  of  (London,  190*7),  ii,  133. 

Month,  a  (London,  1677),  ii,  74;  ii,  191. 

"Months,  Pageant  of  the,"  ii,  191  f. 

Months,    the,    personified,    in    Miss    Rossetti's 

masque,  ii,  191. 

Months  personified  (1679),  ii,  74;  ii,  191. 

Montmorency,  masque  in  honor  of  the  Duke  of, 
(1572),  i,  117. 

Moor  hi  Peek's  1585  Show,  i,  40,  n.  5;  ii,  23;  — 
image  of  a  (Norwich,  1556),  ii,  16. 

Moore,  Sir  John,  Mayor  of  London  (1681),  ii,  59. 

Moorgate  Street  (London),  ii,  114. 

Moorish  Kings,  representing  the  Goldsmiths'  Com 
pany,  ii,  138,  and  n.  2. 

Moors,  developed  from  "wild-men,"  i,  73;  — 
"drolls "representing  (167 2  and  1673),  ii,  53;  — 
(Edinburgh,  1590),  i,  215;  —in  a  tilt  (1594),  i, 
218,  n.  7;  — King  of,  converted  by  example  of 
English  merchants  (London,  1613),  ii,  34;  —  on 
leopards  (London,  1656),  ii,  46;  —  (London, 
1662),  i,  248;  — Queen  of  (London,  1613),  ii,  34; 
—  relation  of,  to  foresters,  wild-men,  devils, 
etc.,  i,  74;  —  (Stuttgart,  1609),  i,  99;  —  (Stutt 
gart,  1617),  i,  234; — on  unicorns  (1611),  ii, 

3i- 

Moral  allegory  and  chivalric  combined,  i,  no;  — 
element  connected  with  Orpheus  (1671),  ii,  51. 

"Moral  equivalent,"  a,  for  war,  suggested  by  Mr. 
MacKaye,  ii,  301  f. 

Moral  significance  hi  mock-fight  (1612),  ii,  32;  — 
suggestion  given  Orpheus  (1656),  ii,  46. 

"Morality"  and  "pageant"  —  cross-influences,  i, 
196,  n.  2;  —  and  "disguising,"  i,  107  f.;  —  "pag 
eant,"  and  allegory,  i,  136,  n.  i. 

Morality  element  attached  to  history,  ii,  79;  — 
element  attached  to  mythology,  ii,  77,  n.  2;  — 
flavor  of  the  Jordanian  "interlude,"  ii,  76. 

Morality-play,  i,  xviii,  —  characterization  in  the, 
ii,  213;  —  and  chronicle-history,  ii,  232;  — 
figures  from  the,  in  a  tournament  (Hesse,  1596), 
i,  219;  —  flavor  in  the  1613  Show,  ii,  35;  — fla 
vor  in  the  older  civic  shows,  ii,  232;  —  flavor  of 
the  Shows  due  to  allegory,  ii,  77;  —  influence  of, 
on  1432  "entry,"  i,  141,  n.  2;  — the  Masque  at 
St.  Louis  resembles  a,  ii,  273;  —  a  modern,  at 
Oxford  (1907),  ii,  222  f.. 

"Moral  meaning"  in  christening  pageantry  (1594) 
i,  219. 

More,  Mr.,  paid  for  hire  of  harps  and  his  child 
playing  in  the  pageant  (1561),  ii,  19. 

More,  Sir  John  (London,  1895),  ii,  127,  and  n.  3. 

More,  Sir  Thomas,  rewarded  for  suggestions  re 
garding  pageants  (1522),  i,  175;  —  makes  oration 
of  welcome  to  Charles  V,  i,  175. 

Morgan,  Mrs.  Marie  J.,  dramatized  "From  King 
dom  to  Colony,"  ii,  277,  n.  2. 


Morions,  with  darts  and  targets  (Norwich,  1556), 

ii,  16;  ii,  17. 
de  Morle[y],  Robert,  in  a  three-day  tournament 

(1331),  i,  90; — in  another  tournament  (1343), 

i,  92,  n.  i. 
Morley,  Lady,  Christmas  disguisings  forbidden  by, 

i,  iii,  n.  7. 
Morris-dance  at  coronation  of  Augustus  II,  i,  252, 

n.  5;  —  at  Kenilworth  (1575),  i,  208;  —  (London, 

1661),  i,  243,  n.  i. 
Morris  dancers  (Bury  St.  Edmunds,  1907),  ii,  224, 

n.  7; — (Chester,  1910),  ii,  224;  —  (Colchester, 

1909),  ii,  224,  n.  7; — at  Knutsford  (1913),  ii, 

153;  —  (Lichfield,   1893),  ii,   150;  —  (Lichfield, 

1914),  ii,   152;  —  (Potter  Heigham,   1907),  ii, 

224,  n.  7;  —  (Sherborne,  1905),  ii,  210;   ii,  211, 

n-  3;  —  (Winchester,   1908),  ii,   225;  —  (York, 

1909),  ii,  224,  n.  7;  —at  Revesby,  i,  7,  n.  i;  - 

at  Salisbury  (1496),  i,  162. 
"Morrismen,"  i,  7,  n.  i. 
Mortals  (Edinburgh,  1908),  ii,  214. 
Mortimer,  Roger,  founds  a  "Round  Table"  at 

Kenilworth,  i,  90;  —  Roger,  of  Wigmore,  i,  90. 
Morwidus,  Earl  of  Gloucester  (London,  1522),  i,  177. 
Moses,  the  blind  bell-man  of  Knutsford,  ii,  154, 

n.4. 
Moses  (Boston,  1908),  ii,  282;  —  (Bruges,  1468), 

i,  152;  —  (Bruges,  1515),  i,  172. 
Moses  and  Aaron  at  Norwich,  ii,  12,  n.  3. 
"Mother  Goose"  pageant  at  Greensboro,  ii,  253, 

n.  5. 

Mother  Goose  (Cambridge,  1919),  ii,  284. 
Motor-car    and    stage-coach    (1896),    ii,    128; — 

(1901),  ii,  129;  —  (1910),  ii,  267. 
Moulton,  Lydia  (Marietta,  1888),  ii,  258,  n.  3;  — 

Mrs.  (Marietta,  1888),  ii,  258,  n.  3. 
Mound-Builders,  the  (St.  Louis,  1914),  ii,  273. 
"Mount,"  or  movable  pageant,  in  a  tilt  (1581),  i, 

213  f. 

Mountagu,  a  French  agent,  at  the  1678  Pope- 
burning,  ii,  172,  n.  2. 
"Mount  of  Love"  in  a  wedding  masque  (1501),  i, 

114. 

Mountain,  "subtlety"  of  a,  i,  83,  n.  3. 
Mountains,  Spirits  of  (London,  1911),  ii,  225;  — 

Spirits  of  the  (St.  Johnsbury,  1912),  ii,  270;  — 

Spirits  of  the  (Thetford,  1911),  ii,  270. 
"Mount  Grace,"  the  derivation  of  the  name  of,  ii, 

280;  —  Royal,  the  (London,  1623),  ii,  79. 
Mount  of  fame  (London,  1618),  ii,  38. 
Mount  Holyoke  College,  a  "Pageant  of  Progress" 

at,  ii,  286. 

Mount  triumphant  (1613),  ii,  34  f. 
Mountague,    Mr.,    arranges    for    transparencies 

(1801),  ii,  102. 
"Mountjoy,  the,"  pictured  at  Belfast  (1914),  ii, 

181. 
Movable  islands  with  nymphs  (Kenilworth,  1575), 

i,  208;  —  pageants,  i,  19,  n.  4;   i,  20,  n.  3;  — 


400 


INDEX 


scenery  ^1636  and  1637),  i,  120,  and  n.  5;  — 

wagon,  i,  xix. 

Moving  pageant,  a,  at  banquet  (1594)1  i>  218  f- 
Mowbray,  Andrew,  his  yard  damaged,  i,  195. 
"  Mucedorus,"  Bremo  in,  i,  76. 
Mucedorus  (London,  1684),  ii,  62. 
Much  Park  Street  (Coventry),  i,  204. 
Much,  the  Miller's  son  (London,  1615),  ii,  144,  n.  i. 
Muharrum,  the,  i,  17. 

Muhlenberg,  Peter  (Norristown,  1912),  ii,  249. 
Mulcaster,  Mr.,  author  of  verses  (i575)>  i>  2o8>  n-  5! 

—  scholar  of,  delivers  oration  to  James  (1604), 

1,225. 
Mulciber  (London,  1606),  i,  228,  n.  i;  —  (London, 


"Mummer's  play,"  i,  xvii. 

Mummers'  plays,  i,  6  f.,  and  notes  2  and  3. 

[Esquimaux;  Canadian  Indians;  Zurich;  Wales; 
Gothland;  Berkshire;  Oxfordshire;  Hereford 
shire;  Dorsetshire;  Lutterworth;  Scotland.] 

Mummers  at  Court  (1377),  i,  104;  —  at  Midsum 
mer,  i,  41;  —  at  Ripon  (1886),  ii,  160. 

"  Mumming,"  i,  8  ff. 

Mumming  at  Christmas  in  Wales,  i,  6,  n.  2;  i,  17, 
and  n.  i;  —  cloaks  sedition,  i,  8;  i,  104;  —  de 
rived  from  folk-custom,  i,  105;  —  in  Brooklyn 
on  Thanksgiving  Day,  ii,  158;  —  prohibited,  i, 
103  f. 

Mumford,  John,  son  of,  in  Norwich  pageant  (1469), 

i,  153- 

"Mumming"  and  "disguising",  i,  105  f. 

Munday,  A.,  alludes  to  London  giants  (1605), 
i,  60;  —  furnished  characters  and  porters  for  the 
1613  pageants,  ii,  35,  n.  3;  —  and  Middleton 
collaborate  (1623),  ii,  38;  —  paid  for  his  part  in 
the  1610  water-triumph,  i,  231;  —  paid  "in 
benevolence"  for  unsuccessful  project,  ii,  37;  — 
reproved  by  the  Ironmongers  (1609),  ii,  30. 

Munday's  unsuccessful  suit,  ii,  30;  —  "Camp-bell; 
or  the  Ironmongers'  Fair  Field  (1609),  ii,  29  f.;  — 
"Chrysanaleia"  (1616),  ii,  37;  —  "Chryso- 
Thriambos"  (1611),  ii,  31;  —  "  Himatia-Poleos  " 
(1614),  ii,  36;  —  "Sidero-Thriambos"  (1618), 
ii,  38;  —  "Triumphs  of  Reunited  Britannia" 
(1605),  ii,  28  f. 

Mundus  in  "Mary  Magdalene,"  i,  108;  —  in 
"The  Castle  of  Perseverance,"  i,  no. 

Munich,  pageantry  at  (1662),  i,  118  f. 

Munificence  (London,  1623),  ii,  78;  —  (London, 
1626),  ii,  78,  n.  4. 

de  Munteinni,  killed  at  a  "Round  Table,"  (1252), 
1,89. 

Murimuth  notes  tournaments  at  Smithfield,  i,  92. 

Murray  (Quebec,  1908),  ii,  263,  n.  4. 

Muscovian,  a  (London,  1617),  ii,  76. 

Muse  of  poetry  (Lichfield,  1009),  ii,  151. 

Muses,  the  (Edinburgh,  1633),  i,  237;  —  (in  a 
Hessian  tilt,  1596),  i,  219;  —  (London,  1533), 
i,  182,  and  n.  5;  —  (London,  1554),  i,  192  f.;  — 


—  (London,  1604),  i,  225,  and  n.  i;  —  bower  of 
(London,  1606),  i,  228,  n.  4;  —  (London,  1890), 
ii,  126;  —  (Stuttgart,  1617),  i,  234;  —  burned  in 
France  (1629),  i,  241;  —  in  a  (1572)  masque  at 
Whitehall,  i,  117;  i,  205,  n.  i;  —  (Peterborough, 
1910),  ii,  264. 

Musgrove,  Alderman,  the  example  of,  followed,  ii, 
116. 

Music  for  the  1801  dinner,  ii,  103;  —  Hall  (Boston), 
ii,  260;  —  in  1839,  ii,  in,  n.  4;  — in  the  Peter 
borough  Pageant,  ii,  264  f.;  ii,  265,  n.  i; — in 
the  shows,  ii,  84;  —  not  harmony  (1823),  ii, 
1 08,  n.  3;  — represented  at  Lichfield  in  1912,0, 
152. 

Music,  Dame,  and  her  Scholars  (Edinburgh,  1579), 
i,  2121. 

Music  (Boston,  1908),  ii,  283;  —  (Edinburgh, 
1908),  ii,  214;  —  (Liverpool,  1907),  ii,  163;  — 
(London,  1432),  i,  145;  —  (London,  1890),  ii, 
126;  — Outdoor  (New  York,  1909),  ii,  244,  n.  i. 

"Musical  dialogues,"  ii,  52;  ii,  62;  ii,  84. 

Musicians  with  Doctors  of  Music  (London,  1908), 
ii,  135;  —  with  Apollo  and  Doctors  of  Music 
(London,  1783),  ii,  99. 

Muskingum,  the  landing  of  the  French  at  the 
mouth  of  the  (Marietta,  1888),  ii,  258. 

Muster  and  allegory,  i,  207; — of  citizens,  i,  42, 
n.3. 

"Muster  of  the  crafts"  at  London,  (1469)  i,  47. 

"My  Lady's  Dress,"  technical  resemblance  of 
"Disinherited  —  ?"  to,  ii,  231. 

Mystery  plays,  old,  in  modern  pageants,  ii,  219, 
andn.  i. 

"Mythical-founder,"  i,  158,  and  notes  i,  2,  and  3. 

"Mythical-founders"  and  symbolism,  i,  81. 

Mythical  history  of  Britain  in  the  1605  Show,  ii, 
28  f.;  —  in  the  modern  pageant,  ii,  217,  n.  3; 
ii,  218,  and  notes. 

Mythological  characters  at  Paris  (1596),  i,  219;  — 
in  the  pageant,  i,  81 ;  —  element  in  French  "feux 
d'artifice,"  i,  240  f.; — history  of  Antwerp  giant, 
i,  254,  n.  4. 

Mythology,  i,  14,  n.  i;  — allegory,  and  history  in 
the  1904  Show,  ii,  130;  — and  Biblical  element, 
ii,  82;  — in  a  court  masque  (1594),  i,  218  f.;  — 
and  history  combined,  ii,  79,  n.  5;  —  history, 
and  symbolism  (1626),  ii,  78,  n.  4; — in  the 
Hudson-Fulton  Pageant  (1909),  ii,  244,  n.  i;  — 
in  the  Lord  Mayor's  Show  —  first  instance  of 
(1561),  ii,  18,  and  n.  2;  —  and  morality  element, 
ii,  77,  n.  2;  —  in  pantomime  on  the  "Lord 
Mayor's  Show"  (1783),  ii,  99;  —  in  the  Peter 
borough  Pageant,  ii,  264;  ii,  265;  —  and  trade 
(1890),  ii,  125;  —  and  trade  combined  (1685), 
n.  63;  —  and  trade-symbolism  united,  ii,  71  f.;  — 
and  "wild  man"  combined  (1663),  ii,  49. 

"Naked  boys"  at  Chester,  i,  44,  n.  8;  i,  45,  n.  5; 
i,  46,  and  n.  2. 


INDEX 


401 


Nameless  characters  (Boston,  1910),  ii,  266,  and 
n.  2;  —  (Peterborough,  1910),  ii,  264  f.;  ii,  266, 
andn.  2. 

Naming  of  giants,  i,  56  ff.,  and  i,  57,  n.  2;  —  Lon 
don  giants  in  1522,  i,  58,  n.  i. 

"Naming  of  Mt.  Hope,"  [or  Mt.  Grace]  episode  of, 
in  the  Warwick  (Massachusetts)  Pageant,  ii, 
279;  ii,  280. 

Naples,  Alfonso  the  Great,  at  (1443),  i,  147,  n.  2. 

Napoleon  at  Antwerp  (1803),  i,  254  f. 

Napoleon,  Prince  Louis,  in  the  Eglinton  tourna 
ment  (1839),  ii,  182,  n.  2;  ii,  185. 

Narrative  Chorus  in  the  modern  pageant,  ii,  211, 
and  n.  i;  ii,  216,  n.  i. 

Narrator  (Potter  Heigham,  1907),  ii,  229. 

Nash,  one  of  the  City  Waits  (1801),  ii,  102. 

National  Drama,  L.  N.  Parker  on  the,  ii,  196. 

National  Guard,  members  of  the,  as  Revolutionary 
soldiers  (Norristown,  1912),  ii,  249,  n.  6. 

National  history  linked  with  civic,  hi  the  1783 
pantomime,  ii,  100;  —  in  recent  civic  shows, 
ii,  119;  ch.  vi,  §4,  passim. 

National  Pageants,  mention  of,  ii,  202,  n.  4. 

National  Service  League  tableau  (Lichfield,  1909), 
ii,  151. 

"Nations,  flags  of  all"  (Plymouth,  1896),  ii,  260. 

"Nations  linked  together  by  the  wireless"  (Boston, 
1912),  ii,  247. 

Nations  personified  (London,  1853),  ii,  116,  n.  3;  — 
represented  by  their  coats-of-arms  (Boston, 
1912),  ii,  247; — symbolized  by  their  inhabi 
tants  (1617),  ii,  76;  —  symbolized  in  the  Lord 
Mayor's  Show  of  1853,  i,  256;  — symbolized  in 
the  Lord  Mayor's  Shows,  ii,  204,  n.  2. 

"Nativity,  the"  (Edinburgh,  1579),  i,  213,  n.  i; 
-(Paris,  I43i),i,i39f. 

Nature  (London,  1432),  i,  144;  ii,  77;  —  (London 
1547),  i,  186;  —  (London,  1591),  ii,  26;  —  (Lon 
don,  1591), i,  77. 

Nature,  Queen  (Edinburgh,  1908),  ii,  223. 

"Naumkeag  Indians,  camp  of  the"  (Marblehead, 
1912),  ii,  277. 

Naval  history  in  the  1911  Show,  ii,  136  f. 

Naval  officers  in  uniforms  of  1808  (London,  1895), 
ii,  128. 

"Naval  Pageant  on  the  Thames"  (1909),  ii,  242, 

n.  3 
Navigation   (London,    1661),  i,   245;  —  (London, 

1004),  ii,  130. 

Navy,  the,  at  play,  ii,  157,  and  n.  3. 
Navy  float,  the,  wins  praise  in  New  York  pageant 

(1918),  ii,  252. 
"Navy,  the  Miniature"  (Boston,   1897),  ii,   261, 

n.  3. 
Naylor,  Sir  George,  Garter  King  at  Arms  (1833), 

ii,no. 

Need  of  Knowledge,  Queen  (London,  1911),  ii,  225. 
Negro  "from  India"  (1684),  ii,  62. 
Negroes  on  panthers  (London,  1671),  ii,  51. 


Neilson,  W.  A.,  on  "Court  of  Love,"  i,  100,  n.  3;  — 
on  masque  at  Norwich  (1578),  i,  211;  — on  the 
Sudeley  pastoral,  i,  218,  n.  2. 

Nelson,  George,  late  mayor  (1767),  ii,  94. 

Nelson,  Admiral  Lord  (London,  1911),  ii,  137;  — 
(London,  1914),  ii,  228,  n.  2. 

Nelson's  Show  for  1590,  ii,  25. 

Neoptolemus  (Winchester,  1908),  ii,  225. 

Neptune  in  the  ceremony  connected  with  crossing 
the  Equator,  i,  9;  ii,  157. 

Neptune  (Antwerp,  1803),  i,  254;  —  (Edinburgh, 
1594),  i,  218;  —  (Elvetham,  1591),  i,  216;  — 
(Little  Compton,  1914),  ii,  250;  —  (London, 
1605),  ii,  28;  —  (London,  1606),  i,  228,  n.  i;  — 
(London,  1610),  i,  230;  —  (London,  1612),  ii, 
32;  — (London,  1616),  i,  233;  i,  234;  —  (Lon 
don,  1657),  ii,  47;  — painted  (London,  1661),  i, 
245;  —  (London,  1685),  ii,  63;  —  (London, 
1691),  i,  145,  n.  3;  —  (London,  1692),  ii,  73;  - 
(London,  1701),  ii,  75;  —  (London,  1890),  ii, 
125- 

Neptune's  car,  in  a  Belgian  triumph,  i,  195,  n.  i;  — 
Throne  (London,  1612),  ii,  32. 

Nereus  (Elvetham,  1591),  i,  216;  i,  217,  and  n.  i. 

Nero  (Edinburgh,  1503),  i,  169. 

Neara  (Elvetham,  1591),  i,  216,  i;  217. 

Netherlands,  rise  of  merchants  hi  the,  i,  55. 

"Netley,"  boys  from  the,  in  the  1881  Show,  ii,  121. 

Neutral  countries  personified  (London,  1919),  ii, 
141. 

New  England,  belief  that  early  inhabitants  were 
gigantic  in,  i,  53. 

New  England  Conscience  (Boston,  1910),  ii,  266, 
n.  2;  ii,  267;  —  (Taunton,  1911),  ii,  266,  n.  2; 
ii,  269. 

New  Hall,  (Dublin),  i,  251. 

New  Haven,  historical  scenes  acted  by  Yale  men 
at  (1901),  ii,  262;  — scenes  at,  in  the  Yale  Pag 
eant  of  1916,  ii,  274,  and  n.  i. 

New  Orleans,  Mardi-Gras  celebrations  at,  ii,  252. 

New  River,  opening  of  (1613),  ii,  36. 

New  River  symbolized  in  the  1913  Show,  ii,  75,  n.  7. 

"New  Troy,"  a  name  for  London,  i,  58,  n.  2. 

"New  Troy's  Tree  of  Honor"  (1628),  i,  82,  n.2; 
ii,  39,  and  n.  4. 

New  Year's  Eve,  mumming  on,  i,  8. 

New  York  (York,  1909),  ii,  215,  n.  2. 

New  York,  the  Hudson-Fulton  Pageant  at  (1909), 
ii,  242  f. 

"New  York,  Publishing  the  Constitution  of  the 
State  of"  (New  York,  1909),  ii,  243. 

New  York,  scene  at  (New  Haven,  191 6),  ii,  275. 

"New  York  Title  Car,  the"  (New  York,  1909),  ii, 

243- 
New  York,  woman  suffrage  procession  at  (1912), 

u>  255;  —  a  war-time  Fourth  of  July  pageant  at 

(1918),  ii,  251  f. 
New  Zealand  represented  by  a  float   (London, 

1883),  ii,  122. 


402 


INDEX 


New  Zealand  Agriculturalist  (1905),  ii,  131. 
Newenton,  Thomas,  sheriff  (1392),  ii,  5. 
Newfoundland  (London,  1919),  ii,  141. 
Newington  Butts,  inn  of  Elephant  and  Castle  at, 

i,  68,  and  n.  2. 

Newsboys  of  the  present  (Boston,  1912),  ii,  245. 
Newspapers  scorn  "men  in  armor"  (1850),  ii,  115. 
"Nezahualcoyotl,  King,  at  Tezcoco"  (St.  Louis, 

1886),  ii,  253,  n.  4. 

Nicolas,  Sir  N.  H.,  on  the  Round  Table,  i,  93. 
Nicholas,  Thomas,  at  Norwich,  ii,  12,  and  n.  3. 
Nicholls,  Robert,  horses  of,  carry  pageant  of  King 

Solomon  (Norwich,  1546),  ii,  12. 
Nichols,  Humphrey,  maker  of  fireworks  (1613),  ii, 

35,  n.  3. 
Nichols,  J.  G.,  defines  "wodyn,"  i,  77;    ii,  13, 

n.  13. 
Night,  Spirit  of  the  (Marblehead,  1912),  ii,  277; 

ii,  278. 

Night  (Edinburgh,  1908),  ii,  223. 
Nile,   Battle  of  the,   commemorated   (1814),  ii, 

162. 

Nile  Expedition  Boat  (1884),  ii,  122,  n.  3;  ii,  123. 
Nile,  Statue  of  the  God  of  the  (1904),  ii,  130. 
Nine  Worthies  —  see  Worthies;  also    Alexander, 

Arthur,  Caesar,  Charlemagne,  David,  Godfrey 

of  Bouillon,  Hector,  Joshua,  Judas  Maccabaeus. 
Nisa  (Sudeley,  1592),  i,  218. 
Niven,  Richard,  on  the  Orange  processions,  ii,  180, 

n.  2. 
"Noah's  Ark"  (London,  1445),  i,  148;  —  with  the 

Shipwrights  (London,  1783),  ii,  99. 
Nobles  in  mock-battle  (Bristol,  1574),  i,  206;  — 

(Warwick,  1572),  i,  206,  n.  2. 
Nobility,  descendants  of  the  old,  in  the  Compiegne 

tourney,  ii,  187. 

Nobility  ["Noblesse"],  (Paris,  1498),  i,  162. 
Nobility,  The,  personified  (Paris,  1498),  i,  164. 
"Noel,"  as  cry  of  joy,  i,  134  f.;  i,  135,  and  n.  i. 
Norfolk,  Duke  of,  is  asked  if  the  clergy  will  attend 

Anne  Boleyn,  i,  180. 
Norman,  Sir  John,  goes  to  Westminster  by  water 

(1453),  ii,  7  f.;  —  not  the  first  mayor  to  journey 

by  water  to  Westminster,  ii,  4. 
Norman,  Sir  John  (London,  1614),  ii,  36;  —  (Lon 
don,  1623),  ii,  78;  —  (London,  1626),  ii,  78,  n.  4; 

(London,  1783),  ii,  99. 
Norman,  Robert,  and  John  Taylor  underbid  in 

1635,  ii,  42,  and  n.  5. 
Norman  period,   the   (Ripon,   1886),  ii,   161;  — 

(Rouen,  i9ii),ii,  164. 
Normandy  (London,  1509),  i,  170;  —  (Paris,  1596), 

i,  219. 
Norris,  Lord,  Elizabeth's  host  at  Ricorte  (1592), 

i,  217,  n.  2. 
"Norris  and  Trent  Purchase,  the"  (Norristown, 

1912),  11,249. 
Norriton  Church,  model  of  the  (Norristown,  1912), 

ii,  249,  n.  3. 


"Norriton  Plantation,  Public  Sale  of  the"  (Norris 
town,  1912),  ii,  249. 

Norristown,  the  Pageant  of  (1912),  ii,  248  f. 

Norroy,  William  Le  Neve,  his  MS.  recounting  the 
1547  "entry,"  i,  185,  n.  6. 

Norsemen  (Ripon,  1886),  ii,  160;  —  (Rouen,  1911), 
ii,  164. 

Northampton,  tournament  at  (1342),  i,  91. 

"Northmen,  the  Discovery  of  the"  (St.  Louis, 
1886),  ii,  253,  n.  4. 

Northumberland,  Earl  of,  at  the  Coronation  of 
Richard  III,  i,  154. 

Norton,  the  Hon.  Mrs.  (London,  1914),  ii,  147,  n.  2. 

Norwegians  in  the  New  York  Pageant  of  1918,  ii, 
252. 

Norwich,  civic  pageantry  at,  ii,  ii  f.; — civic 
pageantry  at  (1556),  ii,  16  f.;  —  Corpus  Christi 
at,  i,  19,  n.  8;  —  dragon  of,  i,  26,  n.  3 ;  i,  27,  n.  6; 
i,  28;  —  (and  see  "Snap");  —  Elizabeth  at 
(1469),  i,  152  f.;  —  Elizabeth  at  (1578);  i,  81  f.; 
i,  210  f.;  —  "Fools"  at,  i,  27,  28;  —  giants  at 
(1469),  i,  57,  n.  2;  —  Guild  of  St.  George  at,  i, 
25,  n.  3;  i,  26;  —  guild  of  St.  Luke,  i,  18,  n.  i;  — 
guild  of  St.  William,  i,  17;  —  Gurgunt  at,  i,  79; 
i,  210;  —  "insurrection"  at,  i,  8;  —  jousts  at, 
exempted  from  prohibition  of  tourneys,  i,  91;  — 
Judases  at,  i,  26,  n.  4;  i,  27,  and  n.  2;  —  Mayor 
of,  elected  i  May,  ii,  12,  n.  6;  —  Mayoralty 
Show  described  by  Celia  Fiennes,  ii,  67  f.;  — 
Midsummer  Show  at,  i,  47,  n.  i,  and  n.  3;  — 
Nugent  Monck's  pageant  at,  ii,  196,  n.  i;  — 
pageantry  at  (1563),  ii,  19;  —  pageantry  at 
(1611),  ii,  30  f.;  —  "paradise,"  i,  19,  n.  8;  i,  35; 
—  perambulation  at,  i,  35;  —  plague  at  (1578), 
i,  212;  —  procession  at,  on  Guild  Day,  i,  28;  — 
Richard  III  at  (1483),  i,  156;  —  St.  George  at,  i, 
25,  n.  3;  i,  26;  i,  78;  —  St.  Margaret  at,  i,  26;  — 
Waits  at,  i,  28;  —  whifflers  at,  i,  71 ;  —  Whitsun 
pageants,  i,  19,  n.  8;  —  Whitsun  plays  ,i,  27. 

Norwich  (Norwich,  1578)  i,  82;  i,  211;  ii,  74. 

Notre  Dame  (Paris),  i,  164;  i,  171. 

"Notre  Dame,"  a  cake  in  the  image  of,  i,  83. 

Notre  Dame  d'Answick,  i,  12,  n.  3. 

Nottage,  Charles  G.,  compiles  the  pamphlet  pub 
lished  in  connection  with  the  1884  Show,  ii,  122, 
n.  2. 

Nottage,  George  S.,  Mayor  of  London  (1884),  ii, 
122,  n.  2. 

Nottingham,  Midsummer  Show  at,  i,  47,  and  n.  2. 

"Nova  Felix  Arabia"  (London,  1604),  i,  224. 

Nugent,  Colonel,  planner  of  the  1910  "muster," 
ii,  189. 

Numa  Pompilius,  worship  of  Terminus  in  the  time 
of,  i,  14. 

Nun,  a  (Edinburgh,  1908),  ii,  214. 

Nuncio  received  by  Sir  John  Shorter,  ii,  63,  n.  8. 

Nuns  (London,  1680),  ii,  173. 

Nuremberg,  tourney  at  (1197),  i,  87;  —  "turnier- 
hof"  at  (1441),  i,  88;  —  tournament  of  fools 


INDEX 


403 


at,  cited  as  parallel  to  the  Eglinton  tourney,  ii, 
183. 

Nursery  tales  represented  on  cars  (Lichfield,  1893), 
ii,  150. 

Nymphs  with  Ceres  (Bisham,  1592),  i,  217;  — 
(Chester,  1910),  ii,  215;  —  in  Gascoigne's 
masque  (1575),  i,  209,  n.  i;  —  in  Gray's  Inn 
masque  (1594),  i,  218;  —  representing  Green 
wich  and  Windsor,  i,  249;  —  on  a  movable 
island  (Kenilworth,  1575),  i,  208;  —  (London, 
1585),  ii,  24;  — (London,  1591),  ii,  26;  — 
(London,  1606),  i,  228,  n.  i;  —  (London,  1618), 
ii,  38;  —  (London,  1628),  ii,  39;  —  (London, 
1638),  ii,  72;  —  (London,  1657),  ii,  47;  —  (Lon 
don,  1661),  i,  245;  i,  246;  —  attending  Thetis 
(London,  1662),  i,  250;  —  (London,  1671),  ii, 
S1?  —  (Oxford,  1907),  ii,  223;  —  representing 
tributary  rivers  (London,  1662),  i,  249. 

"Nyse,"  image  of,  on  a  car  (Alexandria),  i,  17,  n.  6. 

Obedience  (London,  1708),  ii,  78. 

Obedient  Good  Will  (Bristol,  1574),  i,  206. 

Oberammergau,  Passion  Play  at,  ii,  205,  and  n.  3. 

Oberholtzer,  E.  P.,  prepared  the  pageantic  pro 
cession  for  Founders'  Week  (Philadelphia,  1908), 
ii,  241,  n.  6. 

Objections  to  the  Show  voiced  in  the  Times,  ii, 
117. 

Oblivion  (London,  1604),  i,  224,  and  n.  6. 

"Occasional"  pageantry  of  recent  years,  ch.  vii,  § 
2,  (ii,  1591.). 

Oceanus  (Elvetham,  1591),  i,  216. 

Odd  Fellows,  the,  in  the  St.  Louis  procession 
(1847), ii>  238;  —  display  of  the  (Lichfield,  1893), 
ii,  151;  —  lodges  of  the,  in  the  Ripon  procession 
(1886),  ii,  160. 

Odin,  horse  frequently  sacrificed  to,  i,  65. 

Odo  (Dover,  1008),  ii,  219 f.;  —  (Ripon,  1886),  ii, 
161. 

Offley,  Sir  Thomas,  Mayor  of  London  (1556),  ii,  15. 

Officers,  Old  English  (Knutsford,  1913),  ii,  153. 

Ogilby,  John,  poet  for  Charles  II's  progress  (1661) , 

i,  243- 

Ogres  (Ripon,  1886),  ii,  159. 
Old  Black  Baker   (Peterborough,    1910),  ii,   265, 

n.  2. 
Oldcastle,  Sir  John,  accused  of  cloaking  sedition 

in  a  mumming,  i,  104. 

Old  Change  (London),  i,  170;  i,  228,  n.  i;  ii,  46. 
Old  Colony  Hall  (Plymouth),  ii,  236;  ii,  237. 
"Old  Ironsides"  (Norristown,  1912),  ii,  249. 
Old  Jury  (London),  i,  242. 
Old  King  Cole  (St.  Louis,  1888),  ii,  253,  n.  5. 
Old  Man  (Peterborough,  1910),  ii,  264. 
"Old  Plymouth  Days  and  Ways,"  ii,  259. 
Old  South  Historical  Society,  scenes  given  by  the 

(Boston,  1897),  ii>  261. 
"Old  Time  Punishments"  (New  York,  1909),  ii, 

243- 


Old  Woman  (Peterborough,  1910),  ii,  264. 

Old  Woman  who  lived  in  a  Shoe  (Lichfield,  1893), 
ii,  150. 

Olfactus  (London,  1613),  ii,  34. 

Oliver,  Mr.,  commissioned  to  find  a  standing  for 
the  Stationers,  (1678),  ii,  56;  —  to  rank  the 
Barber-Surgeons  as  the  seventeenth  Company, 
ii,  56;  — to  enforce  rule  keeping  the  streets  clear 
(1677),  ",  55- 

Oliver,  Andrew,  hanged  in  effigy  and  burned 
(1765)  ii,  177. 

Oliver  (London,  1522),  i,  79;  i,  176;  —  ii,  76. 

Oliver  Faction  in  a  1671  "interlude,"  ii,  52. 

Olympia,  Empress  Donna  (London,  1680),  ii,  173. 

Olympia,  more  recent  military  "tournaments"  at, 
ii,  188,  n.  i. 

"One  Country,  One  Flag"  (Boston,  1912),  ii,  245. 

O'Neil,  the  Irish  pirate,  capture  of,  celebrated,  i, 
56,  n.  3. 

"Open  shows"  forbidden  by  Mayor  of  London, 
1560,  i,  203,  n.  3. 

"Opening  Future  of  Education  and  Citizenship, 
the,"  in  the  "Masque  of  Learning,"  ii,  227. 

Ophelia  (Lichfield,  1909),  ii,  151. 

Opinion,  in  a  1634  masque  and  pageant,  i,  118. 

Opportunity  (London,  1679),  ii,  74;  ii,  191;  — 
(Providence,  1919),  ii,  289. 

Oppression  (London,  1612),  ii,  32. 

"Oracle  of  Apollo"  (London,  1661),  i,  243,  n.  i. 

Orangemen  celebrate  12  July  in  Canada,  ii,  252. 

Orange  v.  Green  at  Scarva  (1914),  ii,  186. 

Orange  holidays  celebrated  in  July,  ii,  186;  — 
processions  of  Ireland,  ii,  180  f. 

Orator  addressed  Mayor  (Norwich,  1556),  ii,  17. 

Order  of  companies  established  (1515),  ii,  9. 

Order  of  the  Garter  and  the  1344  "Round  Table," 
i,  93;  —  origin  of,  i,  93,  and  notes. 

Oriental  civilizations  in  the  "  Masque  of  Learning," 
ii,  227. 

Origin  of  Continental  giants,  i,  55  ff.;  —  of  folk- 
dances,  i,  5;  —  of  the  "Greenhill  Bower,"  ii, 
148,  and  n.  i;  ii,  149;  —  of  scenery,  i,  112;  i, 
119  f.,  and  notes. 

Orlando  (Lichfield,  1909),  ii,  151. 

Orleans,  festival  at,  for  Joan  of  Arc,  ii,  164,  n.  3. 

d'Orleans,  Due,  and  a  Paris  tragedy  (1393),  i,  102, 
n-3. 

d'Orleans,  Monsieur,  at  the  wedding  of  Mary, 
Queen  of  Scots  (1558),  i,  98. 

Ormeaux,  Sieur  des  (Quebec,  1908),  ii,  263. 

Ormond,  Duke  of,  at  Dublin  (1665),  i,  251. 

"Orpherie"  (London,  1611),  ii,  31. 

Orpheus  (London,  1554),  i,  190;  i,  192;  i,  193;  — 
(London,  1561),  ii,  18,  n.  2;  ii,  19,  n.  i;  ii,  73, 
n.  2;  —  (London,  1619),  ii,  73;  —  (London, 
1656),  ii,  46;  —  (London,  1671),  ji,  51;  ii,  52; 
ii,  73,  n.  2;  —  before  Pluto  (New  York,  1909), 
ii,  244,  n.  i;  —  usually  accompanied  by  min 
strels,  ii,  84. 


404 


INDEX 


Orr,  William,  director  of  the  Springfield  street- 
pageant  (1008),  ii,  241 ;  —  on  the  essential  factors 
of  pageantry,  ii,  194. 

Orson  (London,  1547),  i,  79,  and  n.  7;  i,  186;  i, 
196. 

Orthodoxus  (London,  1679),  ii,  83. 

Ossianic  Cycle,  the  (Edinburgh,  1908),  ii,  214. 

Ostrich  with  Kaffir  (1910),  ii,  189. 

Oswius,  reputed  founder  of  the  Lichfield  "Bower," 
ii,  148. 

Othello  (Lichfield,  1909),  ii,  151. 

Otley,  Robert,  warden  of  Grocers'  Company,  ii,  6. 

Ottford,  mumming  at,  i,  74. 

"Our  Lady's  Feast"  as  celebrated  in  different 
countries  (New  York,  1919),  ii,  287. 

"Our  Plank"  (New  York,  1912),  ii,  255. 

Ouranos,  father  of  giants,  i,  51,  n.  3. 

Ouse  bridge,  at  York,  i,  158. 

Outgrowths  from  pageantry,  ii,  147. 

Overseas  troops  in  the  1914  and  1915  Shows,  ii, 
139;  ii,  140;  ii,  141. 

Oxford,  Elizabeth  at  (1566),  i,  204;  —  (1592),  i, 
218;  — "Jack"  at,  i,  70. 

Oxford  Pageant,  the,  of  1907,  i,  145,  n.  2;  i,  204, 
n.  2;  ii,  220;  ii,  222,  n.  2;  —  masque  in  the, 
ii,  222  f.;  —  interlude  in  the,  ii,  186. 

Oxford  (Massachusetts)  Pageant,  a  scene  from  the, 
ii,  279. 

Oxford  (London,  1631),  ii,  75. 

"Pace-egg" play,  the,  i,  5. 

Pack  Monday  Fair  in  Dorset,  ii,  156. 

Pagan  giants,  i,  52. 

Page,  a,  in  a  group  representing  Chivalry  (Boston, 
1908),  ii,  283. 

"Pageant,"  "allegory,"  and  morality-play,  i,  136, 
n.  i;  —  ceremony,the,  ii,  200;  —  change  of 
meaning  of,  from  car  to  spectacle,  ii,  24;  ii,  29. 

"Pageant-committee,"  the,  and  local  improve 
ment  at  Thetford,  ii,  271. 

"Pageant,"  definition  of,  by  Sir  A.  W.  Ward,  i,  3; 
—  by  Professor  Baker,  ii,  291 ;  —  by  Miss  Beegle 
ii,  292 ;  —  by  H.  A.  Evans,  i,  1 19,  n.  2 ;  —  by  Mr. 
Langdon,  ii,  291  f.;  —  by  Mr.  MacKaye,  ii,  303; 
—  by  Mr.  Parker,  ii,  196;  ii,  291;  —  equivalent 
of  "show"  or  "scene"  (1533),  i,  183,  n.  5;  — 
etymology  of,  i,  xvi,  and  n.  i ;  —  loose  use  of  the 
word,  i,  258;  ii,  242,  n.  3; — original  meaning  of, 
i,  xvi,  and  n.  2;  —  and  "festival,"  an  arbitrary 
distinction  ,ii,  268 ;  —  forms  of  the  word,  i,  xv;  — 
no  French  form  of,  i,  3,  n.  i ;  —  generalization  of 
the  word,  i,  xix. 

"Pageant  of  modern  times"  and  "modern  pag 
eant, "ii,  195, n. i. 

"Pageant,"  the  name,  applied  to  Parkerian  "folk- 
play,"  ii,  198;  —  the  Parkerian,  i,  xix;  i,  xx;  ii, 
144;  ch.  viii  (ii,  146  f.);  —  pronunciation  of,  i, 
xv;  —  and  "masque,"  i,  85;  i,  nzf.;  i,  119;  i, 
221;  —  and  masque  in  America,  ii,  238. 


Pageants  in  a  1501  masque,  i,  113;  —  in  a  1594 
masque,  i,  219. 

Pageant,  the  aesthetic,  i,  xv;  —  allegorical  element 
in  the,  i,  80  ff. ;  —  Biblical  element  in  the,  i, 
77  ff.;  —  "body"  of,  i,  xvii;  i,  85;  —  a,  broken 
during  a  court  dance,  i,  116,  and  n.  2;  —  burned 
(Bruges,  1515),  i,  173;  —  characters  in,  i,  xvi; 
(ch.  i,  §§8-9),  i,  72-84;  —  with  dancers  (1503), 
i,  114;  —  development  of,  by  church  and  guild, 
i,  xviii;  —  educational,  i,  xv;  —  historical  ele 
ment  in  the,  i,  78  ff . ;  —  legendary  element  in 
the,  i,  776°.;  —  unfinished,  at  Metz  (1604),  i, 
226;  —  and  miracle-play,  i,  xvi,  n.  4;  i,  77;  — 
the  modern  characteristics  of,  ch.  viii,  §  3  (ii, 
202  f.);  —  the  modern,  a  chronicle-play,  ii,  209; 
ii,  218  f.;  ii,  232;  —  the  modern  and  the  com 
munity,  ii,  202  f.;  ii,  268;  —  the  modern,  cost 
of,  ii,  206,  and  n.  2;  ii,  234;  —  the  modern, 
democratic  aspect  of,  ii,  202;  —  the  modern, 
disappearance  of  allegory  in,  ii,  212  f;  —  rea 
sons  therefor,  ii,  213  f.;  —  the  modern,  and  the 
drama,  ii,  195  f.;  —  the  modern,  includes  folk- 
revels,  ii,  211,  and  n.  3;  ii,  224,  and  notes;  —  the 
modern,  history  in,  ch.  viii,  passim;  esp.  ii,  217  f. 
—  the  modern,  and  the  individual  ,ii,  205;  —  the 
modern,  its  influence  on  the  investiture  of  the 
prince  in  1911,  ii,  227;  — the  modern,  has  lost 
the  "body,"  but  kept  the  "soul"  and  "spirit" 
of  the  earlier  pageantry,  ii,  212;  —  the  modern, 
masque,  interlude,  and  joust  in,  ch.  viii,  §  7  (ii, 
222  f.);  —  the  modern,  connected  with  May-day 
festivals,  ii,  211,  and  n.  3;  ii,  224,  and  notes;  — 
the  modern,  not  a  morality-play,  ii,  214;  —  the 
modern,  purpose  of,  ii,  195;  ii,  232;  —  the  mod 
ern,  the  "spirit"  and  "technique"  of,  ii,  294;  — 
the  modern,  and  the  stage,  ch.  viii,  §  4  (ii,  208  f.) ; 
ii,  229;  —  the  modern,  structure  of,  ch.  viii,  §  5 
(ii,  2iof.);  —  the  modern,  "technique"  of, 
combines  masque,  earlier  pageant,  and  play,  ii, 
212;  —  the  modern,  and  the  theatre,  ii,  209  f.;  — 
the  modern,  usually  performed  for  a  week,  ii,  232, 
n.  2;  —  and  morality  —  cross  influences,  i,  196, 
n.  2;  —  mythological  element  in,  i,  81; — out 
door  production  of,  i,  xviii;  —  the,  and  the 
pageant-play,  a  bridge  between,  ii,  229;  —  a, 
planned  for  both  sides  of  the  Atlantic,  ii,  276;  — 
"popular"  quality  of,  i,  xvii,  xviii,  i,  85;  — 
romantic  element  hi,  i,  xvii;  i,  79 ff.;  —  "soul" 
of,  i,  xvii;  i,  85;  —  "spirit"  of,  i,  xvii;  i,  85;  — 
standard  types  of  the,  named  by  Mr.  Davol,  ii, 
292;  —  classified,  ii,  294  f;. —  symbolism  in,  i, 
xvi;  i,  8iff.;  —  techinque  of,  i,  xvii;  i,  85;  — 
with  thoroughfares,  as  a  gate:  see  "arches";  — 
in  a  tilt  (1581),  i,  213;  —  at  wedding  masque 
(1503),  i,  114. 

Pageant-car  and  disguising  united  (1494),  i,  112;  — 
with  "geniuses  "  of  the  king  and  queen  (Avignon, 
1600),  i,  220;  —  with  masque,  debat,  and  tour 
ney  (1528),  i,  116  f.;  —  in  masque  at  Whitehall 


INDEX 


405 


(1572),  i,  117;  i,  205,  n.  i;  — in  masques,  i,  85; 
i,  112  f.;  i,  117;  i,  118  f.;  i,  205,  n.  i;  i,  207  f.; 
i,  218  f.;  —  relation  of,  to  scenery,  i,  xviii,  ch. 
ii,  §3  (i,  inf.). 

Pageant-cars  at  Brussels  (1853),  and  London 
(1853),  i,  256;  —  in  the  coronation  tournament 
of  Henry  VII,  i,  97. 

Pageant-master,  the,  remarks  on  the  position  of, 
ii,  200  f . 

"Pageant-play,"  the,  ii,  228  f.; — in  America,  ii, 
289  f. 

"Pageant-plays"  of  modern  times,  ii,  196,  n.  i; 
ii,  229  f. 

"Pageant  of  American  History,  the"  (Taunton, 
(1911),  ii,  269;  —  of  Education,  the  (Boston, 
1908),  ii,  281  f.;  —  of  Progress,  a,  at  Mount 
Holyoke  College,  ii,  286;  ii,  295;  —  of  Progress, 
the  (Lawrence,  1911),  ii,  269;  —  Spring,  a 
(Washington),  1914,  ii,  255;  — of  the  Year,  the 
(Brookline,  Massachusetts),  ii,  284. 

"Pageant  house"  in  Leadenhall  used  for  pre 
paring  pageants  (1657),  ii,  47. 

Pageantic  animals  in  literature,  i,  67,  n.  i ;  — 
characters  face  the  historical  ones  they  repre 
sent,  i,  79;  i,  140,  and  n.  4;  i,  177;  i,  178;  i,  186; 
i,  194;  i,  200;  i,  243,  n.  i;  i,  245;  i,  254;  - 
chivalry,  skeleton  of,  ii,  104; — features  of 
jousts,  tourneys,  and  barriers,  discussed  by 
Bacon,  i,  115;  —  features  of  the  Kenilworth 
Show  (1575),  i,  207  f.;  —  features  of  mock- 
battle  at  Bristol  (1574),  i,  206  f.;  —  fireworks 
(1606),  i,  229;  —  "machines"  (Lyons,  1660),  i, 
240;  —  masque  at  Munich  (1662),  i,  n8f.;  — 
material  metamorphosed  by  masque,  i,  121;  — 
processions  at  Rouen,  i,  98;  ii,  164;  —  proces 
sion  precedes  Shirley's  masque  (1634),  i,  117  f.; 

—  production  of  plays  and  operas,  ii,  209  f . ; 

—  revels  at  Ripon  (1886),  ii,  159  f.;  —  in  Amer 
ica,  ii,  252  f.;  —  revels  at  St.  Louis,  ii,  253  f.; 

—  show,  at  Adrianople  (1717),  ii,  87  f.;  soldiers 
at  Metz  (1604),  i,  226;  —  tilt  (1590),  i,  215  f.;  — 
tilt  at  Whitehall  (1581),  i,  213  f;  —  tournament 
(1503),  i,  96;  —  tournaments  at  Nuremberg  and 
Lille,  i,  87;  —  tourneys  after  1350,  i,  95  ff.;  — 
tourneys  in  France,  i,  94. 

Pageantry,  the  aim  of,  ii,  293;  —  and  carnival,  ii, 
153;  ii,  159;  ii,  192;  ii,  252;  —  at  christening 
banquet  (1594),  i,  218  f.;  —  "futurism"  in,  ii, 
293;  —  influence  of,  on  the  drama,  i,  196,  and 
n.  2;  —  and  masque,  i,  105;  —  the  older  and  the 
Parkerian  meet  (1907),  ii,  133; — processional, 
the  range  of,  reviewed,  ii,  257; — punishment 
for  showing  (Massachusetts,  1759-1797),  ii, 
176  f.;  —  reappears  (1841),  ii,  inf.;  —  and 
social  service,  ii,  292 ;  ii,  301  f . ;  —  spirit  of,  com 
bined  with  technique  of  masque  i,  7;  —  still  in 
the  making,  ii,  235;  —  tendency  to  exploit,  for 
profit,  ii,  207. 

Pageantry  (Thetford,  1911),  ii,  270. 


"Pageantry  for  Returning  Heroes,"  ii,  256  f. 
Pageants  lacking  in  1682,  ii,  60;  —  in  1683,  ii,  61; 

—  in  1688,  ii,  64;  —  not  provided  for  1762,  ii, 
96  f.;  —  at  Avignon  (1600),  i,  220;  —  in  Corpus 
Christi  processions,  i,  19  ff.;  —  damage  done  by, 
repaired  (1662),  i,  247;  —  of  limited  appeal  in 
America,  ii,  281  f.;  —  for  Midsummer  Shows  at 
Chester,  i,  43  ff.,  and  notes;  —  movable  and 
stationary,  i,  19,  and  n.  4;  —  at  Norwich,  ii,  12, 
notes; — older   civic,    revived  in   the    Chester 
Pageant  of  1910,  ii,  224;  —  the  origin  of  scenery, 
i,  120;  —  at  Paris  (1571),  i,  204;  —  in  a  pond 
(Elvetham,  1591),  i,  216;  —  in  Pope-burnings, 
ii,  172  f.;  —  prepared  for  Charles  I  and  his  bride, 
removed  (1626),  i,  235;  —  in  processions,  i,  16; 

—  replaced  by  transparency  (1801),  ii,  103;  — 
revived  (1761),  ii,  94  f . ;  —  in  Roman  processions, 
i,  17,  n.  6;  —  in  "royal-entries"  often  fixed,  i,  19, 
and  n.  4;  i,  137;  —  at  a  royal  wedding  masque 
(1501),  i,  113  f.;  —  at  a  show  described  by  Celia 
Fiennes,  ii,  67. 

"Pageants  of  Ideas,"  ii,  283. 

"Pagina,"  used  in  Carpenter's  letter,  i,  144,  n.  i. 

Painted  characters  (London,  1554),  i,  191  f.;  — 
(London,  1661),  i,  243,  n.  i;  i,  245;  i.  246,  and 
n.  2;  —  (Paris,  1498),  i,  163  f. 

Painting,  represented  at  Lichfield  in  1912,  ii,  152. 

Painters,  gate  of  the  (Paris),  i,  163. 

Palace,  Bishops,  at  London,  i,  157. 

"Palace  of  Honour"  (1631),  ii,  83; — of  Pleasure 
(London,  1671),  ii.  51. 

Palais  Royal  (Paris),  i,  164. 

"Palamon  Arcyte"  played  before  Elizabeth  at 
Oxford,  1566,  i,  204. 

Palexis,  i,  75,  n.  3. 

Pallas  (Chenonceau,  1559),  i,  203;  —  (Edinburgh, 
1503),  i,  169,  n.  i;  —  (London,  1533),  i,  183;  — 
(London,  1635),  ii,  42;  —  (London,  1673),  ii,  53, 
n.  i;  —  (London,  1692),  ii,  73;  —  with  "schol 
ars"  and  castle,  at  coronation  tournament  of 
Henry  VH,  i,  96  ff. 

Palm  Sunday,  i,  15,  and  n.  i. 

Palmer,  J.,  on  pageantry,  ii,  208  f. 

Palsgrave  head  tavern,  the,  ii,  172,  n.  2. 

Pan  (Bisham,  1592),  i,  217;  —  (London,  1656),  ii, 
46. 

"Panels,"  or  "tableaux"  in  the  Yale  Pageants,  ii, 
274,  n.  i,  ii,  275. 

Pannaria  (London,  1684),  ii,  62. 

Panthers  (London,  1671),  ii,  51. 

Pantheus  (Winchester,  1908),  ii,  225. 

Pantomime,  a,  based  on  the  Lord  Mayor's  Show 
(1783),  ii,  97  f.;  —  in  the  Keene  Pageant  (1913), 
ii,  271. 

"Parade  of  Nations,  a"  (Springfield,  1908),  ii, 
241. 

Parade  preceding  the  1912  tournament,  ii,  185. 

Parades  in  connection  with  Norristown's  centennial 
celebration  (1912),  ii,  248. 


406 


INDEX 


Parading  of  effigies,  obsolescent,  i,  10,  n.  5. 

"Paradise,"  of  1432,  i,  146,  and  n.  5;  —  in  a  civic 
pageant  at  Norwich  (1563),  ii,  19;  —  of  Norwich 
Grocers,  i,  19,  n.  8;  i,  35; —  development  of, 
ii,  71;  —  at  York  (1486),  i,  158. 

Paradise  suggested  by  music  (Paris,  1498),  i,  U3- 

Paris,  Show  of  1313,  at,  i,  19,  n.  7;  — "Round 
Table"  at  (1330),  i,  94;  —  Henry  VI  at  (1431),  i> 
138  f.;  —  jousts  at  (1431),  i,  96;  —  "subtleties', 
at  (1431),  i,  82  ff.;  —  wild-men  at  (1431),$,  76;  — 
Charles  VII  at  (1437),  i>  I4I»  n-  r>  —  jousts  at 
(1498),  i,  96;  —  Louis  XII  at  (1498),  i,  162  f.;  — 
Mary,  queen  of  Louis  XII,  at  (1513),!,  171  f.;  — 
Henry  II  at  (1549),  i,  187;  —  Charles  IX  at 
(1571),  i,  204;  —  French  King  welcomed  at 
(1596),  i,  219; — Louis  XIII  at  (1628),  i,  235, 
n.  5;  —  theologians,  letter  of,  concerning  Feast 
of  Fools  (1445),  i>  IO1- 

Paris  at  Edinburgh  and  London,  i,  81;  i,  169;  i, 
183,  —  (Winchester,  1908),  ii,  225. 

"Paris,  the  Judgment  of"  (Edinburgh,  1503),  i, 
169;  —  (London,  1533),  i,  183. 

Park  Department,  the,  furnishes  a  float  (Boston, 
1912),  ii,  247. 

Parker,  Louis  N.,  i,  xix,  xx;  —  on  the  National 
Drama,  ii,  196;  —  on  the  pageant  and  the 
drama,  ii,  196,  and  n.  2;  —  on  the  Coventry 
procession,  ii,  197,  n.  2;  —  his  part  in  the  com 
position  of  his  pageants,  ii,  198,  n.  4;  — on  the 
advisability  of  repeating  performances  of  a  pag 
eant,  ii,  205;  —  on  the  relation  of  the  pageant 
and  the  theatre,  ii,  209;  —  on  pageants  given  for 
profits,  ii,  206  f.;  —  produced  "Henry  VIII" 
on  pageantic  lines,  ii,  209;  —  on  the  commem 
orative  services  held  in  connection  with  modern 
pageants,  ii,  212,  and  n.  i;  —  on  symbolism  and 
history  in  the  modern  pageant,  ii,  215; — on 
where  to  stop  the  historical  survey  in  English 
pageants,  ii,  221  f.;  ii,  221,  n.  3;  ii,  222,  n.  2;  — 
on  the  investiture  of  the  Prince  of  Wales,  ii, 
227;  —  "pageant"  denned  by,  ii,  291. 

Parker  and  MacKaye,  aim  and  methods  of,  ii,  302. 

Parkerian  pageant,  the,  and  Elizabethan  chronicle- 
history  compared,  i,  196;  —  and  Lord  Mayor's 
Shows  of  today,  i,  196;  —  the,  i,  xix;  ii,  144; 
ch.  viii  (ii,  194  f.);  ii,  299;  —  influence  of  the,  on 
the  "Royal  Naval  and  Military  Tournament," 
ii,  190;  —  the  aims  of  the,  ii,  195;  —  not  a  de 
velopment  from  the  older  pageantry,  ii,  197;  — 
source  of  the  inspiration  for  the,  ii,  197. 

Parkerian  pageantry  not  influenced  by  the  civic 
Shows,  ii,  128,  n.  2;  —  influence  of  the,  on  Lord 
Mayor's  Shows,  ii,  136;  —  effect  of,  on  the  Lich- 
field  "Bower"  (1908),  ii,  151,  n.  3. 

Parker's  "The  Edwards  of  England"  (1907),  ii, 
*33  f-5  —  "London's  Welcome  to  Peace"  (1919), 
ii,  141;  —  "The  Press,  the  Poets,  and  the  Mu 
sicians  from  Chaucer  to  Milton"  (1908),  ii,  135  f. 

Parkhurst,  Robert,  Mayor  of  London  (1634),  ii,  42. 


Parliament  not  invited  to  dine  with  mayor  (1702), 

ii,69,n.3. 

"Parliament  of  Honour,"  the  (1619),  ii,  81. 

"Parnassus"  (Edinburgh,  1633),  i,  237;  —  (Lon 
don,  1533),  i,  182,  and  n.  5;  —  parodied  at  Lyons 
(1627),  i,  77,  n.  i. 

Parochial  perambulations,  i,  13  ff. 

Parry  and  Rocke,  woolstaplers  at  Swansea  (1881), 
1,257. 

"Passing  of  Old-Time  Celebrations,"  i,  10,  n.  5. 

"Passion  Play"  at  Leicester,  i,  18,  n.  i. 

Passion  Play  at  Oberammergau,  ii,  205,  and  n.  3. 

"Passion  of  our  Savior"  (Dublin,  1528),  i,  179;  — 
(Paris,  1437),  i,  141,  n.  i. 

"Pastime  with  good  Companye"  sung  at  Win 
chester  (1908),  ii,  225. 

Paston,  Margery,  on  Christmas  plays,  i,  in,  n.  7. 

Pastor  Fido  (London,  1684),  ii,  62. 

Pastora  (London,  1684),  ii,  62. 

"Pastoral"  performed  at  Sudeley  (1592),  i,  218. 

"Pat  Lyon",  the  old  (Norristown,  1912),  ii,  249. 

Paternoster  Row  (London),  i,  246. 

Patience  (London,  1677),  ii,  84,  n.  6. 

Patriarchs  (Coventry,  1474),  i,  153;  —  (London, 
1415),  i,  134;  —  (London,  1680),  ii,  173;  — 
(Norwich,  1469),  i,  153- 

Patriotic  appeal  in  a  children's  festival  (June, 
1914),  ii,  228,  n.  3;  —  element  in  the  Boston 
procession  of  1912,  ii,  245;  —  element,  the,  in 
the  Little  Compton  parade  (1914),  ii,  251;  — 
emphasis  in  the  Keene  Pageant  (1913),  ii,  272;  — 
features  in  a  Cambridge  "pageant,"  ii,  284. 

Patriotism  an  aim  of  the  Army  Pageant,  ii,  207, 
n.  i. 

"Patriotism,  a  Living  Lesson  in,"  (Taunton,  1911), 
ii,  269. 

Patron  saints  of  Companies  represented,  ii,  82  f. 

Pattenmakers  in  the  1890  procession,  ii,  125. 

Pattrick,  Mr.,  provides  transparency  (1825),  ii, 
109. 

Paul's  Chain,  i,  242;   ii,  33. 

Paul's,  a  chorister  of,  takes  part  of  Circumspection 
(1604),  i,  224;  —  boys  of,  take  part  as  Muses  in 
"entry"  of  1604,  i,  225;  —  a  scholar  of,  greets 
Philip  II,  i,  193;  — School,  ii,  55;  — Wharf,  ii, 
19;  ii,  22;  ii,  55.  See  also  St.  Paul's. 

Pavane,  a  (Hertford,  1914),  ii,  224,  n.  7. 

Pavilion  erected  at  the  corner  of  Royal  Exchange 
Avenue  (1881),  ii,  121. 

"Pavilion"  representing  a  temple  (1590  tilt),  i, 
215. 

"Pavilion  of  the  Parlous  Place"  (1515),  i,  116. 

Pawne,  William,  appointed  to  devise  1501  "mo- 
risques,"i,  113. 

Paynton,  Alderman,  on  a  committee  to  view  pag 
eants  (1626),  i,  235. 

Peace  on  a  transparency  (1814),  ii,  162. 

Peace,  Angel  of  (Little  Compton,  1914),  ii,  251;  — 
(Boston,  1908),  ii,  282;  —  (Boston,  1910),  ii, 


INDEX 


407 


266;  —  (Bristol,  1574),  i,  206;  —  (Chester,  1610), 
i,  230;  —  (Edinburgh,  1579),  i,  212;  i,  213,  n.  i; 

—  (Lichfield,  1907),  ii,  151,  n.  3;  —  (London, 
1604),!,  224;  i,  225,  and  n.  i;  —  (London,  1616), 
i,   234;  —  (London,   1628),   ii,  39;  —  (London, 
1660),  ii,  77;  —  (London,  1660),  ii,  78;  —  (Lon 
don,  1661),  i,  245;  —  (London,  1671),  ii,  51;  — 
(London,   1685),  ii,  63;  —  (London,   1850),  ii, 
115;  —  (London,  1853),  i,  256;  ii,  116,  and  n.  3; 

—  (London,    1907),    ii,    134;  —  (New    Haven, 
1916),  ii,  274,  n.  i;  —  (Norristown,  1912),  ii, 
250;  —  (Paris,  1498),  i,  163;    i,  164;  —  (Paris, 
1513),  i,  171;  — (Providence,  1919),  ii,  289;  — 
(Stuttgart,  1609),  i,  99;  —  (Washington,  1913), 
ii,  285;  —  Celebration  of  1814,  the,  ii,  162  f.;  — 
in  the  "  Chasteau  d'Amour,"  i,  80;  —  of  England 
(London,   1590),   ii,   25;  —  of  Heart   (London, 
1622),  ii,  77;  —  represented  by  a  gigantic  figure 
(1905),  ii,  131;  —  on  a  transparency  (1801),  ii, 
102;  —  Lady,  in  a  1572  masque  at  Whitehall,  i, 
117;  i,  205,  n.  i. 

Peace,  products  of  (Lichfield,  1912),  ii,  152. 

Peacock,  Sir  Stephen,  Mayor  (1533),  ii,  10. 

Peasants  (Peterborough,  1910),  ii,  264. 

Peck,  Sir  William,  Mayor  of  London  (1667),  ii,  50. 

Peckett,  William,  painted  the  "  Chariot  of  Honour" 
in  1753,  ii,  65,  n.  3. 

Pecksniff,  i,  69. 

Pecunia  (London,  1673),  ii,  53. 

Pedlar  (Peterborough,  1910),  ii,  264. 

Peele,  "Descensus  Astraese"  (1591),  ii,  25  f.;  — 
Show  for  1585,  i,  40,  n.  5;  i,  81;  ii,  23  f.;  — 
Show  for  1588,  ii,  24  f.;  —  verses  for  1590  tilt 
alluded  to,  i,  215,  n.  4;  —  James,  paid  for  device 
of  a  pageant  (1569),  ii,  21;  —  paid  for  his  "de 
vice  and  paynes  in  the  paggent "  (1566),  ii,  21 ;  — 
provides  gloves  for  children  in  1656  Show,  ii,  20; 

—  relationship  of,  to  George  Peele,  discussed,  ii, 
20,  n.  4. 

Peel,  Robert,  refuses  troops  for  the  Show  (1822), 
ii,  107. 

Peeping  Tom,  effigy  of,  ii,  167. 

Pelicula  (London,  1684),  ii,  62. 

Pembroke,  Earl  of,  notifies  mayor  to  remove  pag 
eants  erected  for  Charles  I  and  his  bride  (1626), 
i,  235. 

Penelope,  with  the  Weavers  (London,  1783),  ii, 
99. 

Penn,  William,  landing  of,  reproduced  (1882),  ii, 
239;  —  (Philadelphia,  1882),  ii,  240;  ii,  258. 

Pennsylvania  Avenue  (Washington),  ii,  255. 

Pennsylvania  bicentenary  celebrated  (1882),  ii, 
239  f. 

"Penrod,"  a  "pageant"  described  in,  ii,  279. 

Penseroso,  II  (London,  1008),  ii,  135. 

Pentecost  at  Norwich,  i,  18,  n.  i. 

Penthasillee  (Paris,  1431),  i,  138,  n.  4. 

People,  The,  personified  (Paris,  1498),  i,  164. 

Pepys,  Samuel,  on  the  1662  "triumph,"  i,  247  f.;  — 


on  the  1660  Show,  ii,  48;  —  on  the  1663  dinner, 
ii,  49;  —  on  scenery,  i,  120,  n.  2;  —  servants 
of,  see  the  1664  Show,  ii,  49. 

Perambulations,  civic,  i,  3Sff.;  —  at  Norwich,  i, 
35;  —  at  Edinburgh,  i,  35;  —  at  Dublin,  i,  35  f. 

Percival  (Diisseldorf,  1852),  ii,  147. 

Percy,  ballad  in  the  "Reliques"  of,  shows  Coven 
try  the  birthplace  of  St.  George,  ii,  168,  n.  i. 

Perdita  (Coventry,  1862),  ii,  170. 

Peredur,  son  of  Evrawc,  i,  78,  n.  i. 

"Perfect  City,  Pageant  of  the"  (1915),  ii,  266. 

Perfect  Lone  (London,  1613),  ii,  34;  ii,  35. 

Performances,  repetition  of,  of  the  modern  pag 
eant,  inadvisable,  ii,  205;  —  number  of,  usually 
given,  ii,  232,  n.  2. 

Performers,  the,  effect  of  the  modern  pageant  on, 
ii,  204;  —  in  the  Hollis  Hall  Pageant  confined  to 
men,  ii,  273; — in  a  Y.  W.  C.  A.  "pageant"  con 
fined  to  women,  ii,  284;  — in  the  Mount  Hoi- 
yoke  "pageant"  confined  to  women,  ii,  286. 

Perfumed  shot  from  the  wooden  cannons  of  Castle 
of  Beauty  (1581),  i,  213  f. 

Perkin  Revelour,  the  temptation  of,  i,  132. 

Perkins,  the  Rev.  F.  L.,  and  his  plays,  ii,  230  f. 

Perrers,  Dame  Alice,  as  "Lady  of  the  Sun,"  (1375), 

i,95- 
Perry,  Micajah,  his  account  of  the  procession  of 

1739,  ii,  89. 

Perseverance  (Edinburgh,  1594),  i,  218. 

Persian,  a  (London,  1659),  ii,  76. — figuring 
Persia  (London,  1659),  i,  82,  n.  2. 

Personification,  examples  of,  ii,  74  f.;  —  of  cities 
and  the  figure  of  the  "mythical  founder,"  i,  196; 
of  cities  (Avignon,  1600),  i,  220;  —  in  the  Mount 
Holyoke  "pageant,"  ii,  286;  —  of  London  con 
nected  with  the  "  mythical  founder,"  ii,  24;  —  in 
Lord  Mayor's  Shows,  i,  82,  and  n.  2;  —  returns 
to  the  Lord  Mayor's  Show  in  1853,  ii,  116;  —  of 
rivers  in  the  modern  pageant,  ii,  21 5  f.; — of 
subject  realms  (London,  1509),  i,  170;  —  of 
towns  in  the  modern  pageant,  ii,  214  f . 

Persse  [Pierce?]  Mr.,  pageant  near  the  house  of 
(Norwich,  1556),  ii,  "16. 

Persuasion  (Bristol,  1574),  i,  206. 

Pertinax  (London,  1623),  ii,  79. 

Peryam,  Sir  William,  Lord  Chief  Baron  (1594),  ii, 
27,  n. 2. 

Pessimistic  views  of  the  Eglinton  tournament,  ii, 

183  f. 

Pestalozzi  (Boston,  1908),  ii,  282. 
Peter,  a  Dutchman  (1553),  i,  189,  and  n.  3. 
Peterborough,  celebration  of  Vernon's  birthday  at 

(1740),  ii,  178,  n.  4;  —  Pageant,  the,  of  1910,  ii, 

264  f.;  ii,  279;  —  (Peterborough,  1910),  ii,  265., 
Petrarch  (Avignon,  1600),  i,  220. 
Pewterers'  barge  hire  (1532),  ii,  10. 
Pharaoh,  with  his  "Knights"  at  Norwich,  ii,  12, 

n.  3. 
Pheme  (London,  1605),  ii,  29,  n.  2. 


408 


INDEX 


Philadelphia,  celebration  of  American  Independ 
ence  at  (1788),  ii,  236;  —  the  first  locomotive  to 
run  from,  into  Norristovra  (Norristown,  1912), 
ii,  250;  —  New  Year's  Carnival  at  (1912),  ii, 
252;  —  pageantic  parade  at  (1908),  ii,  241,  n.  6; 
—  Pennsylvania  bicentenary  celebration  at 
(1882),  ii,  240. 

Philip  of  Spain  welcomed  to  London  by  giants,  i, 

195- 

Philip  [King  of  France],  pictured  (Paris,  1498),  i, 
164;  —  of  Valois  pictured  (Paris,  1498),  i,  164;  — 
of  Spain  personified  (London,  1554),  i,  194. 

Philip  II  at  London  (1554),  i,  189  f.;  —  likened  to 
Orpheus,  i,  1 93. 

Philip  II  pictured  (London,  1554),  i,  192;  i,  194- 

Philippa  of  Hainault  welcomed  to  London  (1327), 
1,127. 

Philips,  four,  famous  in  history  (London,  1554),  i, 
192:  (of  Macedonia,  Rome,  Burgundy  [Philip 
the  Bold  and  Philip  the  Good]). 

Phillips,  Mrs.  E.  E.,  manager  of  the  Marietta  Pag 
eant,  ii,  258,  n.  2. 

Philosopher,  in  a  masque  and  pageant  (London, 
1634),  i,  118;  —  in  masque  at  Norwich  (1578), 
i,  211. 

Philpot,  John  (London,  1783),  ii,  99;  —  (London, 
1906),  ii,  132. 

Phips,  Sir  William  (Quebec,  1908),  ii,  263. 

Phoebus  (Paris,  1513),  i,  171. 

Phorcus  (Elvetham,  1591),  i,  216. 

Phyllis  (Coventry,  1848),  ii,  170. 

Physician,  in  a  1634  masque  and  pageant,  i,  118;  — 
symbolical  figure  of  a  (London,  1907),  ii,  134. 

Picard,  Henry  (London,  1783),  ii,  99. 

Picardy  Place  (Edinburgh),  i,  255,  n.  3. 

Pickering  Pageant,  the  (1910),  ii,  221,  n.  3. 

Pickle-Herring,  i,  10,  n.  i. 

Picture-Framers  show  living  pictures  in  frames 
(Preston,  1902),  ii,  165,  n.  2. 

"Piers  Plowman,"  i,  7;  i,  80;  i,  no. 

Piety  (London,  1623),  ii,  78;  —  (London,  1626),  ii, 
78,  n.  4. 

Pilgrim  Tercentenary,  the,  to  be  observed  by  all 
classes  in  America,  ii,  276. 

Pilgrim  (London,  1657),  ii,  47;  —  representing  St. 
John  (London,  1662),  i,  248. 

Pilgrims  in  a  pageantic  procession  (Rouen,  1558), 
i,  98; — (c  1350),  in  the  English  Church  Pag 
eant,  ii,  219,  n.  i. 

"Pilgrims,  Embarkation  of  the,  from  Delft" 
(Plymouth,  1896),  ii,  259;  ii,  260;  —  the  Land 
ing  of  the  (St.  Louis,  1886),  ii,  253,  n.  4;  —  the 
Landing  of  the  (Plymouth,  1896),  ii,  259;  ii, 
260. 

Pilkington,  Sir  Thomas,  Mayor  of  London  (1689), 
ii,  64;—  (1690),  ii,  65. 

Pilsen,  a  "King"  beheaded  at,  i,  51,  n.  2. 

Pinch,  Tom,  i,  69,  n.  i. 

Pine  (Keene,  1913),  ii,  271,  n.  4. 


Pinnacles,  the  (Chester,  1910),  ii,  215. 

Pinnock,  Mr.,  ready  to  explain  expenses  con 
nected  with  the  coach  (1767),  ii,  94. 

Pioneers  in  red  caps  and  coats  (1680),  ii,  173. 

Pirates  in  Brooklyn  mumming,  ii,  158;  —  (Scar 
borough,  1912),  ii,  222,  n.  2. 

Piscaria  (London,  1684),  ii,  62. 

Pitt  at  the  1761  Show,  ii,  95. 

Pittsburgh,  Fourth  of  July  celebration  at,  ii, 
303- 

Pity  (Edinburgh,  1908),  ii,  223;  —  (London,  1432), 
i,  146. 

Plague  at  London,  (1563),  i,  203;  —  in  London 
(1592  and  1593),  ii,  26;  —  in  London  (1603),  ii, 
28;  —  in  London  (1665),  ii,  49;  —  at  Norwich, 
(1578),  i,  212;  —  at  Norwich  (1665),  ii,  49;  — 
stops  citizens'  welcome  to  Charles  I  (1625),  i, 

234- 

Plan  for  the  1635  Show,  ii,  42. 

Plans  of  the  lists  at  Eglinton,  ii,  184. 

Plato  (London,  1681),  ii,  83. 

"Playfellows  of  the  Sea"  (Little  Compton,  1914), 
ii,  251. 

Playing  Cards,  trade  figures  of  the  makers  of 
(1889),  ii,  124. 

Plays  at  the  Edinburgh  wedding  of  Mary,  Queen 
of  Scots,  i,  195. 

"Pleasure,  antique  pageant  for"  (1635),  ii,  42;  — 
Boat  of  1684,  ii,  61. 

Pleasure  (London,  1684),  ii,  62;  —  (Oxford,  1907), 
ii,  223. 

"Plebians,"  chorus  by  (1679),  ii,  172. 

Plenty  (Chester,  1610),  i,  230;  —  (Edinburgh, 
1579),  i,  212;  i,  213,  n.  i;  —  (London,  1604),  i, 
225,  n.  i;  —  (London,  1660),  ii,  77;  —  (London, 
1661),  i,  246,  and  n.  2;  —  (London,  1671),  ii,  51; 
—  (London,  1685),  ii,  63;  —  (Washington,i9i3), 
ii,  285;  —  an  artificial  figure  as  well  as  a  living 
one  (London,  1661),  i,  246;  —  Lady,  in  a  masque 
(1572),!,  117;  i,  205,  n.  i. 

"Plot"  of  six  pageants  (1629),  submitted  to  Iron 
mongers,  ii,  40. 

Plot,  a,  in  the  Show  for  1613,  remarks  on,  ii,  35. 

Plough-Monday,  i,  4;  i,  5;  —  in  north  of  England, 
i,  12;  —  Monday  dance  (Hertford,  1914),  ii, 
224,  n.  7. 

Ploughs  and  ships  in  folk-festivals,  i,  n  ff. 

Plowboys'  performance  at  Revesby,  i,  7,  n.  i. 

"Plowing"  (St.  Louis,  1878),  ii,  253,  n.  2. 

Plumb,  Samuel,  letter  of  coach-builders  to,  ii,  94. 

Pluto  (New  York,  1909),  ii,  244,  n.  i. 

"Pluto  and  Proserpine"  (St.  Louis,  1878),  ii, 
253,  n.  2. 

Plymouth,  i,  n,  n.  4;  i,  12;  —  celebration  of  the 
"Mayflower"  voyage  at,  ii,  276;  —  "Historic 
Festival"  of  1896,  the,  ii,  258  f.;  —  history  re 
produced  at  (1801),  ii,  236  f.;  —  meeting-house, 
the,  model  of  (Norristown,  1912),  ii,  249,  n.  3;  — 
Pageant  for  1921  planned,  ii,  277,  n.  i. 


INDEX 


409 


"Pocahontas  and  John  Smith"  (St.  Louis,  1886), 
ii,  253,  n.  4. 

Poet,  boy  dressed  as  a  (London,  1559),  i,  202. 

Poet  vs.  Engineer,  i,  119. 

Poetry  (Boston,  1908),  ii,  283;  —  (Lichfield,  1909), 
8,151. 

"Poetry  for  the  masses,"  ii,  303. 

Poets  regard  Companies  as  their  employers,  or 
patrons,  ii,  70;  —  vs.  artificers,  ii,  35,  n.  3. 

Pointed  swords,  symbolism  of,  i,  155. 

Pointless  sword,  symbolism  of,  i,  154  f. 

Poland,  Augustus  II  crowned  King  of  (1698),  i, 
252. 

Pole,  a  (London,  1617),  ii,  76. 

Poles,  the,  win  prize  at  New  York  Pageant  (1918), 
ii,  251. 

Policia  (Stuttgart,  1609),  i,  99. 

Policy  (Edinburgh,  1579),!,  212;  —  (London,  1590), 
",25. 

Polish  group,  a  (Taunton,  1911),  ii,  270;  —  so 
cieties  in  the  Boston  procession  of  1912,  ii,  247. 

P elites  (Winchester,  1908),  ii,  225. 

Political  allegory  combined  with  muster  at  Bristol, 
i,  207,  and  n.  2;  —  effigies,  i,  16;  —  excitement 
(1679  f.),  ii,  59  ff . ;  —  "guys,"  i,  10;  —  mumming 
i,  8;  i,  104;  — pageantry,  (1539),  i,  98;  — pag 
eantry,  ch.  vii,  §  4  (ii,  171  f.);  —  significance  of 
1533  pageant,  i,  180;  —  significance  given  to 
Ruth  and  Naomi  (Belfast,  1914),  ii,  181; — 
solidarity  strengthened  by  Orange  processions, 
ii,  180,  and  notes  2  and  3. 

Polycephalic  giants,  i,  54. 

Polyphemus  (London,  1685),  ii,  63. 

Pomona  (London,  1604),  i,  225,  n.  i; — (London, 
1661),  i,  246,—  (London,  1673),  ii,  53;—  (Lon 
don,  1890),  ii,  125. 

Ponceau,  fountain  of  (Paris),  i,  163. 

Ponce  de  Leon  (St.  Louis,  1886),  ii,  253,  n.  4. 

"Pontiac,  arrival  of"  (St.  Louis,  1892),  ii,  253,  n.  6. 

Poole,  Thomas,  paid  for  dressing  mayor's  mount 
for  Midsummer  (1589-90),  i,  44. 

Pope-burnings  of  the  years  following  1679  referred 
to,  ii,  59;  —  at  London  and  Boston,  i,  16;  i,  51, 
n.  2.  —  an  academic  parallel  to  the,  at  New 
Haven,  ii,  275;  —  burning  of  1673,  ii,  172; 

—  of  1678,  ii,  172,  n.  2;  —  of  1679,  ii,  172;  —  of 
1680,  ii,  172  f.;  —  of  1681,  ii,  174 f.;  —  of  1682, 
ii,  175;  — of  1711,  ii,  175,  and  n.  3;  — of  the 
xviii  century,  ii,  176. 

"Pope  Night"  at  Portsmouth,  ii,  176,  n.  i. 

Pope-processions,  ii,  171  f. 

Pope,  Sir  Thomas,  rebuked  by  Mary  for  his  "dis- 
guisings,"  i,  198. 

Pope  and  Charlemagne  (London,  1522),  i,  176;  — 
with  the  Devil  (London,  1680),  ii,  173;  —  effigy 
of  the,  burned  at  Boston,  ii,  176;  ii,  177;  ii,  236; 

—  effigy  of  the,  burned  at  Edinburgh  and  Lon 
don,  ii,  172  f. 

Pope's  Guard,  captain  of  the  (1680),  ii,  173. 


Pope  in  a  water-triumph  (1539),  i,  98;  —  in  a  mum 
ming  (1377),  i,  104;  —  knight  disguised  as 
(i343),  i,  92. 

"Popular  element  "a  necessity  in  the  pageant,  ii, 
294;  —  quality  of  pageants,  i,  xvii;  i,  xviii. 

Popular  element  in  "royal-entries,"  i,  180;  —  joy, 
influences  of,  on  Elizabeth,  suggested,  i,  201;  — 
ovation  to  Elizabeth  (1559),  i,  199  f. 

Popularity  of  the  Show  in  1913,  ii,  138. 

"Pork  Night,"  a  corruption  of  "Pope  Night,"  ii, 
176,  n.  i. 

Portia  (Lichfield,  1893),  ii,  150;  ii,  153;— (Lich 
field,  1909),  ii,  151;  ii,  153. 

Porto  Bello,  "illumination"  representing  (1740), 
ii,  178. 

Portreve  (London,  1783),  ii,  98. 

Portsmouth,  Peace  of,  suggested  in  the  1905  Show, 
ii,  131,  and  n.  4;  — "Pork  Night"  at,  ii,  176, 
n.  i. 

Portuguese  group,  a  (Taunton,  1911),  ii,  270;  — 
the,  win  prize  at  New  York  pageant  (1918),  ii, 
251- 

"Pot  of  Gold,  a"  (Little  Compton,  1914),  ii,  251. 

Potter  Heigham  Pageant,  the  (1907),  ii,  224,  n.  7; 
ii,  229. 

Poulteney,  Sir  John  (London,  1623),  ii,  78. 

Poulterers  precede  Stationers  in  civic  processions, 
ii,  17; — to  be  followed  by  Stationers,  i,  203,  n.  3. 

Poulters  in  the  1890  procession,  ii,  125. 

Poultry,  the  (London),  i,  154,  n.  2;  i,  224;  ii,  68. 

Power  (London,  1623),  ii,  78;— (London,  1626), 
ii,  78,  n.  4;  — (London,  1708),  ii,  78;  — (Paris, 
1498),  i,  163;  i,  164. 

Poyure,  rue  du  (Bruges),  i,  76,  n.  2. 

Pr cdector,  a  (Oxford,  1907),  ii,  223. 

Praillon,  Francois,  lieutenant  of  children's  com 
pany  (Metz,  1604),  i,  226. 

Precaria  (London,  1679),  ii,  83. 

Precept  for  the  1816  Show,  ii,  104  f.. 

Precepts  concerning  fire-works  and  squibs,  ii,  14, 
n.  i ;  —  for  Lord  Mayor's  Day,  (1704),  ii,  69,  n. 
3;  —  regarding  civic  "ridings"  (1680),  ii,  58  f. 

Precyane  (London,  1432),  i,  145. 

Prefect,  a  Roman  (London,  1783),  ii,  98. 

Prelacy  (London,  1501),  i,  168,  n.  3. 

Prentiss,  Mrs.  W.  H.,  "prolocutor"  at  Keene 
(1913),  ii,  271,  n.  3. 

Preparations  for  the  1740  Show,  ii,  92;  —  the 
Eglinton  tournament,  ii,  182  f.;  11,184;  —  Eliza 
beth's  passage  through  London,  i,  199. 

Press,  attitude  of  the,  toward  the  Show  in  1913, 
ii,  137  f.;  — in  1914,  ii,  139 f. ;  — opinions  of, 
concerning  the  civic  show  (1850),  ii,  115;  — 
(1853),  ii,  u6f.;  — (1856),  ii,  118;  —  opinions 
of  the,  concerning  the  Eglinton  tournament,  ii, 
182  f. 

Press-gang,  the  (Scarborough,  1912),  ii,  222,  n.  2. 

Prescott,  William  H.,  Club,  members  of  the,  give 
scene  in  the  Boston  "festival"  of  1897,  ii,  261. 


410 


INDEX 


"Presentation  in  the  Temple"  at  Aberdeen,  i,  33; 

—  Weavers'  Pageant  (Coventry),  i,  204,  n.  i. 
Preston,  Adam  and  Eve  at,  i,  34,  and  n.  7 ,  i,  78;  — 

"armed  man"  at,  i,  34;  —  "guilda  mercatoria" 
at,  i,  34,  and  notes;  ii,  164,  and  notes  5  and  6; 
ii,  165,  and  notes  i  and  2; —  Guilds  of  1882 
and  1902,  ii,  165,  n.  2;  — •  Vulcan  at,  i,  34;  i,  81. 

Pretty  and  his  tumblers  (London,  1660),  i,  242. 

"Preuses"  (Paris,  1431)-  i.  ^S,  and  n.  4. 

"Preux"  (Paris,  1431))  i>  ^S,  and  n.  4. 

Priam  (Winchester,  1908),  ii,  225. 

Pride,  in  "Piers  Plowman,"  i,  no. 

Priests  of  the  Nile  (London,  1904),  ii,  130. 

Primislaus  of  Bohemia  (London,  1623),  ii,  79. 

"Prince"  George  (in  "folk-plays"),  i,  7,  n.  i. 

Prince  Heinrich  Veteran  Society  (Boston,  1912), 
ii,  245. 

Prince  and  Princess  in  furs  (1628),  ii,  39. 

Princes  Street  (London),  ii,  114;  ii,  115,  n.  2. 

Princes,  pageantic  (Edinburgh,  1832),  ii,  165. 

Princess  (Bristol,  1461),  i,  152;  —  (Coventry, 
1474),  i,  154- 

Princess  Errant  the,  in  the  1912  tournament,  ii, 

185. 
Princess,   a,  with  St.   George,  in  an  Edinburgh 

masque  (1908),  ii,  223. 
Printers   and   printing-press    (1908),    ii,    135;  — 

trade-pageant  of  the  (Edinburgh,  1832),  ii,  166; 

—  trade-pageant   of  the  (St.  Louis,   1847),  ii> 

239- 

Printing-press,  model  of  the  first  English  (1902),  ii, 
129. 

Prison  for  Discord  in  a  1572  masque,  i,  117;  i, 
205,  n.  i. 

Pritchard,  Sir  William,  Mayor  of  London  (1682), 
ii,  60,  and  n.  i. 

Proby  estimates  cost  of  mayor's  dinner  (1663),  ii, 
49. 

Processions,  i,  xvi;  i,  3f.;  ch.  i,  §2;  — of  deco 
rated  wagons,  ii,  155;  — pageantic  elements  in, 
i,  3 ;  —  pageantic  character  of,  i,  77;  —  state  in 
the  early,  ii,  5 ;  with  images,  or ' '  dolls, "  i,  1 1 ;  — 
pageants,  i.  16. 

Procession  of  Guild  Day  at  Norwich,  i,  28;  — 
mayoralty,  inaugurated,  ii,  3 ;  —  omitted  in 
1791,  .ii,  102;  —  omitted  in  1817,  ii,  105;  —  at 
Ripon  opens  the  millenary  celebration  (1886), 
ii,  159;  —  of  1750  referred  to,  ii,  93 ;  —  the  root 
of  pageantic  "royal-entry,"  i,  197;  —  on  three 
days  of  Easter  week,  (1696),  ii,  66,  n.  3;  — 
street,  characterization  in  a,  ii,  213; — with 
feasting,  at  Lichfield,  ii,  148  f. 

Processional  element  in  the  Boston  Normal  School 
Pageant,  ii,  282;  —  element  in  the  "royal-entry," 
i,  137;  —  pageantry  in  America,  ch.  ix,  §  i  (ii, 
I3Sf-);  —  pageant  at  Liverpool  (1907),  ii,  163; 
—  "ridings"  as  a  prelude  to  "hastiludia,"  i,  95. 

Producing  a  pageant,  notes  on,  ch.  viii,  §  2  (ii, 
198  f.). 


Professional  "troupe"  in  the  1853  Show,  ii,  117. 

Profits  of  various  pageants,  ii,  206; —  in  modern 
pageants,  ii,  207. 

"Progress,  a  Pageant  of"  (Mount  Holyoke  Col 
lege),  ii,  286;  ii,  295;  —  the  Pageant  of  (Law 
rence,  1911),  ii,  269. 

Progress  (Boston,  1910),  ii,  266. 

Progressive  Party,  the,  represented  by  a  Bull-Moose 
(Boston,  1912),  ii,  255. 

Prohibition  of  Christmas  masquerading  at  London, 
i,  103  f.,  and  n.  2;  —  at  Bristol,  i,  104. 

"Promos  and  Cassandra,"  pageantry  in,  i,  49,  n.  i. 

Promptitude  (London,  1604),  i,  223. 

Propaganda  in  the  Boston  procession  of  1912 
linked  with  history,  ii,  246 ;  —  masque  for,  at 
Washington  (1913),  ii,  284,  —  in  the  New  York 
Pageant  of  1918,  ii,  252;  —  pageantry  as,  ii, 
254  f. ;  —  pageantry  used  as,  during  the  war,  ii, 
228,  n.  i;  —  plays  for,  with  pageantic  material, 
ii,  230;  —  in  the  Rhode  Island  Normal  School 
"festival"  of  1919,  ii,  289. 

"Properties"  of  Godiva  procession  sold  (1836),  ii, 
169,  n. 2. 

"Prophecy  of  the  New  America,  the"  (Taunton, 
1911),  ii,  270. 

Prophet,  a  (St.  Louis,  1914),  ii,  273,  n.  2. 

Prophets  (Coventry,  1474),  i,  153;  —  four  (London, 
1501),  i,  168. 

"Proserpine  and  Pluto"  (St.  Louis,  1878),  ii,  253, 
n.  2. 

"Prosperite  du  Pays"  (Malines,  1838),  i,  12,  n.  3. 

Prosperity  (Boston,  1908),  ii,  282;  —  (Boston, 
1910),  ii,  266;  —  (London,  1853),  i,  256;  — 
(London,  1853),  ii,  116,  and  n.  3;  —  ["bon 
temps"],  (Paris,  1498),  i,  163. 

Protestantia  (London,  1679),  ii,  83. 

Protestants  (London,  1680),  ii,  173. 

Protests  against  the  Show  (1853),  ii,  117. 

Proteus  in  Gray's  Inn  masque  (1594),  i,  218;  — 
(Kenilworth,  1575),  i,  209;  —  (London,  1610), 
i)  2335  —  (London,  1638),  ii,  72;  —  (London, 
1685),  ii,  63. 

Providence  [Foresight],  (London,  1618),  ii,  38;  — 
(London,  1622),  ii,  77;  —  (London,  1628),  ii,  39. 

Provincetown,  celebration  of  the  "Mayflower" 
voyage  at,  ii,  276. 

Provincial  Midsummer  Shows,  i,  43  ff. 

Prudence  on  a  transparency  (1814),  ii,  162. 

Prudence  (Bristol,  1486),  i,  160;  —  (Coventry, 
1456),  i,  149;  —  treads  on  Sardanapalus  (Edin 
burgh,  1503),  i,  169;  —  (London,  1501),  i,  168; 
—  (London,  1522),  i,  178;  —  (London,  1700), 
ii,  80,  n.  7 ;  —  in  Lydgate's  London  disguising, 
i,  107;  —  (Stuttgart,  1609),  i,  99;  —  in  funeral 
pageant  at  Rome,  i,  17,  n.  6. 

Prussia,  the  King  of,  at  London  (1814),  ii,  162, 
n.  6. 

Pseudo-history,  a  tendency  towards,  in  the  "com 
munity  drama,"  ii,  281. 


INDEX 


411 


Ptolemy  (Edinburgh,  1579),  i,  213;  —  image  of,  in 
a  triumph  at  Alexandria,  i,  17,  n.  6. 

Ptolemy  Philadelphus,  at  Alexandria,  i,  17,  n.  6. 

Public  Library,  the  (New  York),  ii,  256 ;  —  Schools, 
the,  with  banners,  (St.  Louis  1847),  ii,  238. 

"Public  work"  wagons  (Boston,  1912),  ii,  248. 

Punch's  "Lament  of  the  Man  in  Brass"  (1850), 
ii,  116. 

Punishment  for  pageantry  or  any  kind  of  public 
show  decreed  in  Massachusetts,  ii,  176  f. 

Punning  allusions,  ii,  37. 

Puppet  attendants  for  the  dead,  in  China,  i,  50,  n.  4. 

Purcell,  song  by  Mr.  (1682),  ii,  60,  n.  3. 

Purcell,  Henry  (London,  1908),  ii,  135. 

Pure  Religion  (London,  1559),  i,  200. 

"Purification  of  the  Virgin,"  at  Beverley,  i,  17; 
i,  19,  n.  5. 

"Puritan  Home  Life"  (Boston,  1897),  ii,  261. 

"Puritans,  the  Departure  of  the"  (Boston,  1897), 
ii,  260. 

Puritans  (Boston,  1897),  ii,  260,  n.  3; —  (London, 
1889),  ii,  124;  —  (Taunton,  1911),  ii,  269. 

Purpose,  a,  in  the  1884  Show,  ii,  122;  —  the,  of  the 
Boston  Pageant  of  1910,  ii,  266;  —  of  the  Boston 
procession  of  1912,  ii,  248;  —  of  "From  Kingdom 
to  Colony,"  ii,  277;  —  of  the  Hudson-Fulton 
Pageant  (1909),  ii,  242;  ii,  244,  and  n.  3;  — 
of  the  Little  Compton  parade,  ii,  251;  —  of  the 
pageant,  the,  ii,  293;  —  pageantry  with  a,  ii, 
254  f.;  —  of  pageantry,  Miss  Beegle  discusses 
the,  ii,  292;  —  the,  of  the  Parkerian  pageant,  ii, 
195 ;  —  plays  with  a,  ii,  230;  —  of  the  Plymouth 
Pageant  of  1896,  ii,  259. 

"Pussyfoot,"  effigies  of  (London,  1919),  ii,  179. 

Putney,  i,  248. 

Puttenham,  George,  on  Midsummer  Show,  i,  40;  — 
on  "giants,"  i,  40. 

Pyracmon  (London,  1685),  ii,  63. 

"Pyramid,"  unfinished,  at  Metz  (1604),  i,  226. 

Pyrrhus  (Winchester,  1908),  ii,  225. 

Pythagoras  (London,  1432),  i,  145;  —  (London, 
1637),  ii,  83. 

Quaker  Settlers  (Norristown,  1912),  ii,  249. 

Quality,  type,  and  individual,  ii,  212  f.. 

Quarters  of  the  Earth,  the  Four '(London,  1907),  ii, 
134;  —  of  the  Globe  personified  (London,  1694), 
i,  82,  n.  2;  —  of  the  World  personified  often,  ii, 
75 ;  —  on  a  transparency  (1801),  ii,  102 ;  —  of  the 
Year  (London,  1677),  ii,  74;  ii,  191. 

Quarter-staff,  Tilting  at  the  Ring,  the  Quintain, 
1300  (in  the  1889  Show),  ii,  124. 

"Quatre  Chiualers  de  la  Forrest  saluigne"  (1511),  i, 
97;  —  "fits  Aymon"  (Lyons,  1627),  i,  77,  n.  i. 

Quebec,  processional  features  of  the  tercentenary 
celebration  at  (1908),  ii,  240 f.;  —  Pageant  of, 
(1908),  ii,  262  f.;  —  Pageant,  the,  "pageants" 
in,  ii,  210,  n.  3 ;  —  Pageant,  speech  in  the  (1908), 
ii,  232,  n.  i. 


Queen  of  Beauty  (London,  1889),  ii,  124. 

Queen  of  Beauty  (1912),  ii,  185,  and  n.  3;  —  at 

Eglinton,  ii,  182,  n.  2;  ii,  183;  ii,  184. 
Queen  of  Chastity  [Elizabeth  regarded  as],  (Sudeley, 

1592),!,  218. 

" Queen  of  Dele,"  at  Dublin,  i,  31. 
Queen  of  the  Harvest  (Grimston,  1884),  ii,  159;  — 

(Ripon,  1886),  ii,  161. 
Queen  (nameless),  [Ceres?]  (Paris,  1513),  i,  171;  — 

(Paris,    1513),    i,    172;  —  Need    of  Knowledge, 

(London,  1911),  ii,  225;  —  of  Sheba,  at  Dublin 

i,  23,  n.  3;  — (Paris,i5i3),  i,  171;  —of  Wisdom, 

(London,  1911),  ii,  225. 
Queen  Street  (London),  ii,  68;   ii,  92;  —  Victoria 

Street  (London),  ii,  138. 

Queenhithe,  emblematical  car  of  (1891),  ii,  126. 
Queen's  Birthday,  the,  celebrated  in  Canada,  ii, 

252. 

Querne,  —  see  St.  Michael's. 
Quiet  (London,  1604),  i,  225. 
Quiller- Couch,  Sir  A.  T.,  treats  a  pageant  in  fiction, 

ii,  204,  and  n.  i;  —  his  part  in  the  Winchester 

Pageant,  ii,  226,  n.  i. 
"Quilting  Party,   a"  (Boston,  1897),  ii,  261,  n. 

3; — (Boston,    1910),    ii,    267,    n.     2;  —  (Ply 
mouth,  1896),  ii,  260. 
Quintain,  running  at  the,  at  Kenilworth,  (1575)  i, 

208. 

Racine  (Boston,  1908),  ii,  282. 

Radington,  Sir  Baldwin,  made  "warden"  of  Lon 
don  (1392),  ii,  5. 

Radium  (Mount  Holyoke,  1912),  ii,  286. 

Ragged  Staff,  the,  and  the  Bear,  ii,  218. 

Ragusan  merchants  warned  to  contribute  pag 
eants  (1522),  i,  174. 

Rain  at  the  Eglinton  tournament,  ii,  182,  n.  2;  ii, 
184;  ii,  185,  n.  i;  —  on  the  Lord  Mayor's  Day 
(1605),  ii,  29. 

"Rainbow,  the"  (Little  Compton,  1914),  ii,  251. 

"Raising  the  First  Meeting-House,"  a  float  at 
Cadillac,  ii,  249,  n.  4. 

Rajah,  a  (London,  1895),  u>  I27- 

Raleigh,  Professor  Sir  Walter,  author  of  a  "mas 
que"  in  the  Oxford  Pageant,  ii,  223,  n.  2. 

Raleigh,  Sir  Walter  (Sherborne,  1905),  ii,  210. 

Range,  the,  of  processional  pageantry  reviewed,  ii, 

257- 
Raphael,  angel  of  marriage  (London,  1501),  i,  167, 

and  n.  5. 

Rapine  (Providence,  1919),  ii,  289. 
Rastall,  deviser  of  a  pageant  (London,  1522),  i, 

174. 

Rathbone,  Mr.,  to  furnish  music  (1849),  ">  IZ4- 
"  Raw  material "  of  allegory,  i,  137 ;  —  of  pageantry 

in  the  carnival,  ii,  295  f. 

Realms  of  King  Henry  VIII  personified,  i,  170. 
Reapers  with  political  significance  (1814),  ii,  163. 
Reasons  for  monotony  of  shows,  ii,  65  f. 


412 


INDEX 


Rebellion  (London,  1559),  i,  200;  —  (London, 
i66i),i,  244. 

Recorder  presents  Elizabeth  with  the  City's  gift; 
her  reply,  i,  201;  —  Sir  Cuthbert  Buckle  to  the 
Queen  (1593),  ii,  26;  —  speech  of,  to  Cromwell 
(1653),  i,  239. 

"Recruiting  Lord  Mayor's  Show,  the"  (1915),  ii, 
140  f.. 

Recruiting  stimulated  by  the  1914  Show,  ii,  142, 
n.  2. 

Red  Cross,  a  symbolical  ceremony  planned  by  the, 
ii,  300;  —  costumes  in  Brooklyn  mumming,  ii, 
158- 

Red  Cross,  Knight  of  the  (London,  1908),  ii,  135;  — 
Workers  (Providence,  1919),  ii,  289. 

Red  Men,  Tribes  of  the,  impersonate  Indians 
(Norristown,  1912),  ii,  249,  n.  2. 

Red  Riding  Hood  (Lichfield,  1893),  ii,  150. 

Reform,  triumph  of,  celebrated  at  Edinburgh, 
(1832),  ii,  165  f. 

Refreshment  for  children  in  the  1629  Show  pro 
vided,  ii,  41;  —  provided  for  the  porters  (1566), 
ii,  21. 

Reggio,  Duke  Borso  at  (1453),  i,  148,  n.  4. 

Reinhardt,  Max,  i,  121. 

de  Reischach,  Baron,  celebrates  coronation  of 
Francis  I  (1746),  i,  83,  n.  7. 

Rejoicing  of  citizens  at  Philip's  welcome  (1554),  i, 
194. 

Religion  (Antwerp,  1803),  i,  254; — (London, 
1613),  ii,  34;  —  (London,  1628),  ii,  39;  —  repre 
sented  by  Jewish  High  Priest,  Roman  Catholic 
Cardinal,  and  Protestant  clergyman  (Norris 
town,  1912),  ii,  250;  —  Dame  (Edinburgh,  1579), 
i,  213,  and  n.  i. 

Religious  and  chivalric  allegory,  i,  80;  —  guild 
processions,  i,  20;  —  "ridings,"  i,  13  ff.;  — 
tableaux  at  Paris  (1431),  i,  140;  —  (1437),  i, 
141,  n.  i. 

Renaissance,  the,  in  "The  Masque  of  Learning," 
ii,  227. 

Renaissance  Architecture  (Cambridge,  1911),  ii,  287. 

"Renaissance,  the  Pageant  of  the  Italian,"  (Chi 
cago,  1909),  ii,  283. 

Repetition  of  incident  in  the  1613  Show,  ii,  35,  n.  2; 
—  of  the  Plymouth  Pageant  of  1896  in  1897,  ii, 
258. 

Republican  Party,  the,  represented  by  an  elephant 
(Boston,  1912),  ii,  255. 

Resume  of  xv  century  "royal-entries,"  i,  165  f.. 

"Resurrection"  at  Aberdeen,  i,  33;  —  (Bristol, 
1486),  i,  1 60;  —  and  "Judgment"  (London, 
1445),  i,  148;  —  of  history  in  the  Yale  Pageant, 
ii,  275;  —  of  Wai-worth  (1616),  ii,  80. 

Revels,  characters  of  the,  in  a  Cambridge  "pag 
eant,"  ii,  284;  —  combined  with  masque  at 
Edinburgh  (1908),  ii,  223;  —  of  the  folk  re 
called  in  the  Sherborne  Pageant,  ii,  210;  ii,  211, 
and  n.  3;  —  at  Grimston,  ii,  159;  —  of  Merry 


Mount  (1627),  ii,  236,  n.  4;  —  ii,  286; — in 
modern  pageants,  ii,  224;  —  pageantic,  in 
America,  ii,  252!.; — pageantic,  at  St.  Louis, 
ii,  253  f.;  —  with  pageantic  features,  ii,  147, 
and  notes;  —  and  pageants,  ii,  146  f.;  —  a 
suggestion  of,  in  the  Hudson-Fulton  Pageant, 
ii,  244,  and  n.  i;  —  a  suggestion  of,  in  the  St. 
Louis  procession  of  1847,  ii,  238. 

Revere,  Paul  (Boston,  1897),  ii,  261. 

Revere,  carnival  at  (1912),  ii,  254. 

"Revere  Beach"  (Revere,  1912),  ii,  254. 

Revesby  sword-play,  i,  7,  n.  i;  i,  105;  —  at 
Agassiz  House,  i,  10,  n.  i. 

Revetor,  William,  bequeaths  the  "Creed  Play"  to 
the  York  Corpus  Christi  Guild  (1446),  i,  21. 

Revival  of  folk-dancing,  i,  10;  —  of  folk-revels  in 
the  modern  pageant,  ii,  224;  —  of  older  civic 
pageantry  in  the  Chester  Pageant  of  1910,  ii, 
224;  —  of  pageants  (1761),  ii,  94  f. 

Revolt  from  the  Pope  recognized  in  the  1533 
pageant,  i,  180,  and  n.  i. 

Revolution,  scene  from  the  (Peterborough,  1910), 
ii,  265. 

Revolutionary  scene  (Taunton,  1911),  ii,  269;  — 
scenes  in  a  Marblehead  "pageant,"  ii,  277;  — 
War,  scenes  of  the  (Boston,  1897),  ii,  261. 

Reward  of  an  acrobat  (1553),  i,  189,  n.  3;  —  (1554), 
i,  194,  n.  i. 

"Rex  de  Vertbois,"  i,  75;  i,  90;  i,  95;  i,  97;  — 
de  viridi  bosco,  i,  75,  n.  2. 

Reyher,  P.,  on  Lydgate's  mummings,  i,  106,  n.  4.; 

—  on  scenery,  i,  119,  notes  3  and  4;  i,  120. 
Rhetoric  represented  with  Cicero  (London,  1432), 

i,  79;  i,  145. 

Rhine  (London,  1691),  ii,  75;  —  Father  (New 
York,  1909),  ii,  244,  n.  i. 

Rhoades,  James,  his  part  in  Mr.  Parker's  pageants, 
ii,  198,  n.  4;  ii,  211,  n.  2. 

Rhode  Island  Normal  School,  a  Victory  Pageant  at 
the,  ii,  288  f. 

Rice,  John,  paid  for  his  part  in  the  1610  water- 
triumph,  i,  231. 

Rich,  Richard,  put  up  lists  for  jousts  in  Smithfield 
(1442),  i,  96. 

Richard,  King  (Coventry,  1474),  i,  153. 

Richard  I  (London,  1614),  ii,  36;  —  (London,  1628), 
ii,  39;  —  (London,  1884),  ii,  123;  —  (London, 
1914),  ii,  228,  n.  2;  —  and  tournaments,  i,  88  ff. 

Richard  II  appoints  a  military  "  triumph,"  i,  95 ;  — 
and  mummers  (1377),  i,  104;  —  partisans  of,  in 
political  mumming  (1400),  i,  104;  —  received 
with  pageantry  at  London  (1377),  i,  128  f.;  — 
enters  London  (1392),  i,  129  ff. 

Richard  II  (London,  1590),  ii,  25;  —  (London, 
1616),  ii,  80,  n.  6;  —  (London,  1700),  ii,  80,  n.  7; 

—  (London,  1884),  ii,  123;  —  (Coventry,  1862), 
ii,  170. 

Richard  III  crowned,  i,  154;  —  at  Norwich  (1483), 
i,  156;  —  at  York  (1483),  i,  155  f. 


INDEX 


413 


[Richard  of  Gloucester]  Lord  Protector,  prepares 
for  the  coronation  of  Edward  V,  i,  154,  n.  5. 

Richard  of  Warwick,  as  Green  Knight,  i,  75,  n.  3. 

Richards,  Mr.,  his  part  in  the  1783  pantomime,  ii, 
101. 

Richardson,  Mr.,  on  a  sub-committee  for  1823 
"armed  men,"  ii,  108. 

Riches  (London,  1684),  ii,  62; —  (Paris,  1498),  i, 
163;  —god  of  (London,  1673),  ii,  53. 

Richmond,  i,  114;  i,  168;  —  mayor  presented  to 
Elizabeth  at  (1582),  ii,  22. 

"Riding,"  i,  xix;  —  the  annual,  not  pageantic  in 
early  years,  ii,  5. 

"Riding  the  Black  Lad"  at  Ashton-under-Lyne,  i, 
16. 

"Riding,"  the,  to  St.  Paul's  discontinued  during 
time  needed  for  rebuilding  the  church,  ii,  59. 

Ridings  of  the  mayor  (1680),  ii,  58  f.;  —  precede 
jousts,  and  grow  mimetic,  i,  95. 

Ridley,  Nicholas  [Bishop  of  Rochester  and  London], 
(London,  1907),  ii,  134. 

Ridley,  the  burning  of ,  pictured  at  Belfast  (1914), 
ii,  181. 

"Rigadoon,"  a,  danced  by  children  (Colchester, 
1909),  ii,  224,  n.  7. 

Riot  (London,  1612),  ii,  32. 

Riggs,  L.,  verse  by,  in  the  Yale  Pageant,  ii,  275. 

Righteousness,  in  the  "Chasteau  d'Amour,"  i,  80; 
—  in  Lydgate's  London  disguising,  i,  107;  — 
(Coventry,  1456),  i,  149. 

Ripley,  Hugh,  last  wakeman  of  Ripon  (Ripon, 
1886),  ii,  151. 

Ripon,  millenary  celebration  of  (1886),  ii,  159  f.; 
ii,  208;  —  tilting  at,  in  1886,  ii,  185;  —  "wild- 
men"  at  (1886),  i,  74,  n.  2. 

Ritual,  a,  of  citizenship,  ii,  290. 

River,  the  Spirit  of  the  (Thetford,  1911),  ii,  270. 

River  God  represented  by  a  giant  in  1913,  i,  63; 
ii,  36;  ii,  138. 

Rivers,  Earl  (London,  1902),  ii,  129. 

Rivers  often  personified  in  the  civic  shows,  ii,  75;  — 
personified,  examples  of,  ii,  75,  and  n.  7. 

Rivers  personified  and  individualized  in  the  modern 
pageant,  ii,  21 5  f.;  —  Spirits  of  the  (St.  Johns- 
bury,  1912),  ii,  270. 

Robarts,  Henry,  his  account  of  the  1606  "entry," 
i,  227  f.,  and  notes  (228). 

Robert,  Earl  of  Cleremont,  injured  in  a  tourney,  i, 
87. 

Roberts,  Lord,  opened  the  Army  Pageant  of  ^910, 
ii,  207,  n.  i. 

Robin  a  Wood,  i,  7. 

Robin  Hood,  i,  7;  i,  74;  —  (Coventry,  1862),  ii, 
170;  —  (Grimston,  1884),  ii,  159;  —  (Knuts- 
ford,  1913),  ii,  154;  — (Lichfield,  1893),  ii,  150; 
ii,  153;  —  (London,  1615),  ii,  144,  n.  i;  —  (Lon 
don,  1913),  ii,  138;  ii,  144,  n.  i;  —  (Ripon, 
1886),  ii,  161;  —  (Sherborne,  1905),  ii,  210;  ii, 
211,  and  n.  3. 


"Robin  Hood  and  the  Curtal  Friar,"  played  on 

traditional  site  of  the  event  it  recalled  (1886),  ii, 

161,  and  n.  3;  ii,  199,  n.  i. 
Robin  Hood  men  in  a  dance  (1613),  i,  206,  n.  6;  — 

in  May-day  mumming,  i,  65,  and  n.  i. 
Robin  Hood  plays,  i,  7,  n.  i ;  i,  10,  n.  i ;  i,  85;  i,  105. 
Robinson,  Sir  John,  on  a  civic  committee,  i,  247 ;  — 

Mayor  of  London  (1662),  ii,  48,  n.  5. 
Robinson  Crusoe  (Revere,  1912),  ii,  254. 
Roche,  Sir  William  (mayor,  1540),  ii,  ii. 
Rockesby,  Sir  Gregory  de  (London,  1889),  ii,  125. 
Rod,  symbolism  of  the,  at  coronations,  i,  155. 
Rogation  Day,  at  Salisbury,  i,  65;  —  week,  i,  14. 
Roger  of  Caen  (Sherborne,  1905),  ii,  210. 
Rogers,  Dr.,  music  by,  in  the  1783  pantomime,  ii, 

101. 
Roi  du  Behourt,  at  Lille,  i,  88;  —  de  VEpinette  at 

Lille,  i,  75;  i,  88;  i,  135,  n.  i. 
Roland  (London,  1522),  i,  79;  i,  176. 
Rotto  (Rouen,  1911),  ii,  164. 
Roman  Ambassadors  at  London  (1518),  i,  173;  — 

civilization,  the,  in  the  "Masque  of  Learning," 

ii,  227;  —  dance  (Colchester,  1909),  ii,  224,  n.  7; 

-  (York,  1909),  ii,  224,  n.  7. 
Roman  Magistrate  (London,  1662),  i,  248. 
Roman  occupation  of  the  city  shown  at  York 

(1909),  ii,  217,  n.  3. 
"Roman  Pageant,"  a,  in  the  1914  "Tournament," 

ii,  189  f. 

Roman  period,  the  (Ripon,  1886),  ii,  160;  —  tri 
umphs  with  pageantic  features,  i,  17,  n.  6; — 

troops,  routine  of,  in  the  1914  "tournament," 

ii,  190. 

"Romance,"  i,  xix. 
Romance  (Boston,  1908),  ii,  283. 
Romance,  gifts  of,  to  the  pageant,  i,  196;  —  shade 

of,  in  the  pageant,  ii,  104. 
Romances,  animals  in,  i,  66;  —  giants  in,  i,  52;  — 

influences  on  animals  in  the  masque  from,  i,  121; 

—  tournament    in,    i,   89;  —  and   tournament; 
cross-influences,  i,  196  f. 

Romans  (Edinburgh,   1908),  ii,  214;  —  (London, 

1783),  ii,  98. 

Romantic  aspect  of  life,  aim  to  preserve  the,  ii, 
195;  —  and  Biblical  elements  combined,  i,  160; 

—  characters   in   pageants,   i,    79  ff.;  —  fiction, 
influence  of,  greater  on  the  masque  than  on  the 
pageant,  i,  196. 

"Romantic  giants,"  types  of,  i,  52. 
Rome  (London,  1904),  ii,  75,  n.  6;  ii,  130. 
Rome,  ancient,  represented  by  a  car  (1904),  ii, 

130;  —  carnival  at,  i,  14,  n.  i;  i,  161,  n.  6;  — 

"subtlety"  at,  (1473).  i,  83,  n.  3. 
Romish  plots,  echoes  of  (1679),  ii,  58. 
Rooke,  Sir  George  (London,  1911),  ii,  137- 
Roose  [Stayner],  makes  dragon  at  Norwich  (1534- 

35),  i,  26,  n.  5. 
Rorke's  Drift,  veterans  of,  asked  for  (1879),  ii, 

1 20. 


INDEX 


Rosalind  (Lichfield,  1909),  ii,  151. 

Rosam,  i,  4. 

Rose,  a  mechanical  (London,  1522),  i,  177. 

"Rosemary,"   a  play  dealing  with  the  past,  ii, 

196,  n.  i. 
de  Rosny,  Lucien,  records  Lille  tourney,  i,  87 ;  — 

describes  the  "Roi  de  1'Epinette,"  i,  88. 
Ross,  Betsy  (Norristown,  1912),  ii,  249;  —  Club 

provides  a  float  (Boston,  1912),  ii,  246,  n.  3. 
Rossetti,  Christina,  her  "Pageant  of  the  Months," 

ii,  191  f. 
Rothenburg,  play  of  the  Meistertrunk  at,  ii,  197; 

ii,  205,  n.  3. 
Rouen,  millenary  celebration  of  (1911),  ii,  163  f.;  — 

—  pageantic  procession  at  (1558),  i,  98. 
Round  Table,  i,  89  ff . 

"Round  Table"  founded  in  France,  i,  92,  and  n.  4; 

—  of  Parisian  citizens  (1330),  i,  94;  —  in  "royal- 
entry"  (London,  1522),  i,  177. 

Round  Table  and  Wace,  i,  95. 

"Round  Table"  founded  at  Windsor  (1344),  i,  92. 

Round  Table,  Knights  of  the  (Diisseldorf,  1852),  ii, 

147. 
Round  Table,  Knights  of  the,  in  Monck's  "King 

Arthur,"  ii,  217,  n.  3. 
Roundheads  (Lichfield,  1893),  ii,  150. 
Roundheads    [soldiers    of    the    Commonwealth], 

(London,  1889),  ii,  124. 
Roussillon,  disguising  in,  i,  13,  n.  i. 
Route  of  1849  procession,  ii,  114;  —  of  the  1850 

procession,  ii,  115,  n.  2. 
Rowe,  Sir  Thomas,  Mayor  of  London  (1568),  ii,  21 ; 

ii,  27. 

Rowlandson,  Grace,  in  the  Warwick  (Massachu 
setts)  Pageant,  ii,  280. 
Royal  characters,  portraits  of  (Edinburgh,  1633), 

i,  236;  —  statues  of  (London,  1661),  i,  243,  n.  i; 

—  pictures  of  (Paris,  1498),  i,  163  f.     [See  also 
historical  characters,  and  the  names  of  individual 
sovereigns.] 

"Royal-Entries"  —  see  also  places  visited  and 
sovereigns  visiting;  —  of  the  fifteenth  century  re 
viewed,  i,  165  f.;  —  have  the  continuity  of  an 
institution,  i,  180;  —  impersonal  quality  of,  i, 
180;  —  popular  element  in,  i,  180. 

"Royal-entry,"  trade-pageantry  in  (1298),  i,  124; 
-(1313),  i,  126;  — (1377),  i,  128  f.;  — (1392), 
i,  131;  — (1432),  i,  146;— (1445),  i,  148;  — 
before  the  days  of  Elizabeth  reviewed,  i,  195  f.; 
—  of  the  seventeenth  and  subsequent  centuries, 
ch.  v,  (i,  222  —  258) ;  —  the,  ch.  iii,  (i,  124-198.) 

Royal  Exchange  —  see  also  Exchange ;  —  scene  of 
1678  "interlude"  laid  at  the,  ii,  56. 

"Royal  Exchange,"  ship  named  the  (1605),  ii,  28. 

"Royal  May  Day  Festival,"  i,  10;  —  at  Knuts- 
ford,ii,  i53f. 

"Royal  Naval  and  Military  Tournament,  the," 
ii,  187  f.;  —  Oak,  of  1660  described  by  Evelyn,  ii, 
47  f.;  —  Oak,  pictured  (London,  1661),  i,  243, 


n.  i;  —  Pageant  on  the  Thames  (1919),  ii, 
141,  and  n.  i;  —  Slave  with  scenes  (1637),  i, 
120. 

Royalty  (London,  1547),  i,  186. 

Royalty  at  the  1664  banquet,  ii,  49;  —  at  the 
1671  Show,  ii,  52;  —  invited  to  the  1673  ban 
quet,  ii,  53,  n.  2;  —  at  the  1685  Show,  ii,  63, 
n.  i;  —  at  the  1687  banquet,  ii,  63;  —  at  the 
1689  banquet,  ii,  64;  —  at  the  1692  banquet,  ii, 
66,  n.  2;  —  invited  to  dine  with  the  mayor 
(1702),  ii,  69,  n.  3;  —  at  Guildhall  (1727),  ii, 
88,  and  n.  4;  —  at  the  1761  Show,  ii,  95;  ii,  96; 

—  at  Guildhall  (1822),  ii,   108;  — at  the  1837 
banquet,  ii,   no;  —  at  the  Knutsford   festival 
(1887),  ii,  153;  —  at  the  1911  "Tournament," 
ii,  189;  —  at  the  1919  pageant  on  the  Thames, 
ii,  141,  n.  i. 

Roze,  Raymond,  his  pageantic  production  of  an 
opera,  ii,  210. 

Rubens,  P.  P.,  and  the  Antwerp  giant,  i,  254,  and 
n.3. 

Rudhudibras,  founder  of  Canterbury  and  Win 
chester,  i,  78,  n.  i. 

Rudstone,  Alderman,  to  provide  livery  for  the 
1522  "entry,"  i,  174;  —  Sheriff,  to  have  two 
pageants  at  Midsummer  (1522),  i,  40,  n.  3. 

Rugg,  Robert,  Mayor  of  Norwich  (1550),  ii,  16, 
n.3. 

Rules  for  pageant  writing,  strict,  cannot  be  made, 
ii,  235. 

Running  at  the  ring  (London,  1616),  i,  234,  n.  i. 

Runnymead,  scene  at,  in  the  English  Church  Pag 
eant,  ii,  200. 

Rus,  ii,  76. 

Russell,  Lady,  receives  Elizabeth  at  Bisham  (1592) , 
i,  217,  n.  2;  —  G.  W.  E.,  on  Disraeli's  description 
of  the  Eglinton  tournament,  ii,  182,  n.  2. 

Russia  (Lichfield,  1904),  ii,  151,  n.  3;  —  (London, 
1853),  ii,  116,  n.  3. 

Russia,  the  Emperor  of,  at  London  (1814),  ii,  162, 
n.6. 

Russian,  a  (London,  1617),  ii,  76. 

Russian  group,  a  (Boston,  1910),  ii,  267. 

Russian  prince  and  princess  (London,  1628),  ii,  39. 

Russians  in  the  Boston  procession  of  1912,  ii,  247; 

—  in  the  New  York  Pageant  of  1918,  ii,  252. 
Ruth  and  Naomi  given  a  political  significance  (Bel 
fast,  1914),  ii,  181. 

"Ryche  Mount"  (1513),  i,  116. 
Rycot,  Elizabeth  at,  i,  217,  n.  2;  i,  218. 
Rye,  effigies  burned  at,  i,  10. 

Sabrina  (Cheltenham,  1908),  ii,  2i6f.;  —  in  the 
Gloucestershire  Pageant  (1908),  ii,  75,  n.  7. 

Sacchetti,  Franco,  his  picture  of  a  septuagenarian 
in  a  tournament,  i,  99,  n.  i. 

Sachem,  a  (Plymouth,  1801),  ii,  236. 

Sacred  Memory  (London,  1623),  ii,  78. 

Sacrifice,  ground-work  of  sword-dances,   i,   6;  — 


INDEX 


415 


the  origin  of  the  "attack"  in  folk-plays,  i,  5;  — 

pagan,  connected  with  religious  festivals,  i,  64, 

n-3- 

Saddlers  (London,  1783),  ii,  99. 
Saddletree  Makers'  car  in  the  Ripon  procession 

(1886),  ii,  160. 

Safety  (London,  1604),  i,  225. 
"Sagettary"  (London,  1635),  ii,  42. 
Sailor  (London,  1585),  ii,  24. 
Sailors  (Knutsford,  1913),  ii,  154;  —  in  the  1850 

Show,  ii,  115;  ii,  116. 
St.  Albans  Pageant,  the  (1907),  ii,  221,  n.  3;  — 

Street,  Worcester,  i,  210. 
St.  Andrew  (London,  1604),  i,  223; — (London, 

1609),  ii,  30;  ii,  82; — (London,  1681),  ii,  82, 

n.  7;  —  "subtlety"  of,  i,  83,  n.4. 
St.  Andrew  Hubbard,  accounts  of,  i,  38;  i,  57,  n.  2. 
St.  Andrew's,  parish  of  (Norwich),  ii,  17. 
St.  Anne  (London,  1533),  i,  183. 
St.  Anthony  (London,  1681),  ii,  82,  n.  7. 
"St.  Benet's  Abbey,  The  Last  Days  of,"  ii,  229. 
St.  Benet's  Gates,  Norwich,  i,  211. 
"St.    Botolph's    Church    at    Boston,    England" 

(Boston,  1897),  ii,  260. 
St.  Catherine  —  see  St.  Katherine. 
St.  Christopher  at  Aix,  i,  55,  n.  2;  —  at  Salisbury, 

i,  56,  n.  3;  — i,  57,  and  n.  3;  i,  162;  i,  258;  ii, 

155  f- 

St.  Clair,  General  (Marietta,  1888),  ii,  258,  n.  3. 
[St.]  Crispianus  with  the  Cordwainers  (London, 

1783),  ii,  99.    [Cf.  Crispinian.] 
St.  Crispin,  i,  33;  i,  34,  n.  7;  i,  57,  n.  2;  —  (Dublin, 

1528),  i,  179;  —  (Edinburgh,  1832),  ii,  165,  and 

n.  5;  —  with  the  Cordwainers  (London,  1783), 

ii,99- 

St.  Crispin,  Society  of,  shows  the  "king"  (Edin 
burgh,  1832),  ii,  165. 

St.  Crispinian,  i,  33;  i,  34,  n.  7;  i,  57,  n.  2;  — 
(Dublin,  1528),  i,  179.  [Cf.  Crispianus.] 

St.  David  (London,  1681),  ii,  82,  n.  7; — (York, 
1914),  ii,  230. 

St.  Denis  (London,  1681),  ii,  82,  n.  7;  —  (Paris, 
1431),  i,  140. 

St.  Denis,  gate  of,  i,  139;  i,  162;  i,  171;  i,  187;  — 
rue,  (Paris),  i,  139. 

St.  Dona  (Bruges,  1515),  i,  172. 

St.  Dunstan  (London,  1522),  i,  178;  —  in  Lord 
Mayor's  Shows  at  the  end  of  the  xvii  century,  i, 
78;  —  (London,  1611),  ii,  31;  ii,  83,  n.  4;  — 
(London,  1674),  ii,  83; — (London,  1687),  ii, 
83,  n.  4;  —  (London,  1708),  ii,  83,  n.  4. 

St.  Dunstan's  Church  (London),  i,  202;  i,  228. 

St.  Edmund  (King),  (London,  1522),  i,  178. 

St.  Edward  (King  and  Confessor),  (Coventry, 
1456),  i,  149;— (Coventry,  1474),  ^153;  [in 
genealogical  table  (London,  1432)],  i,  146;  — 
(London,  1522),  i,  178;  — (London,  1547),  i, 
186. 

St.  Elene,  guild  of,  at  Beverley,  i,  17. 


St.  Elene,  impersonated  at  Beverley,  i,  17. 

St.  Elizabeth  (London,  1534),  i,  41;  i,  78. 

St.  Erkenwolde  (London,  1522),  i,  178. 

St.  Francis  (Paris,  1431),  i,  138,  n.  4. 

St.  George,  i,  xvii;  i,  7,  and  n.  i;  i,  23-32;  i,  57. 

St.  George  in  folk-mumming,  i,  23  ff.;  —  in  pag 
eantry  from  folk-custom,  i,  24;  —  "riding,"  i, 
24 ff.;  —  pageant  of,  i,  24,  n.  i;  —  at  Mons,  i, 
24,  n.  i ;  —  in  Bavaria,  i,  24,  n.  i ;  —  in  Russia, 
i,  24,  n.  2;  —  in  Portugal,  i,  24,  n.  2;  —  at  Nor 
wich,  i,  26 ff.;  i,  78;  —  at  Leicester,  i,  29  ff.;  — 
at  Aberdeen,  i,  33 ;  —  an  "armed  knight,"  i,  47 ; 
i,  48;  —  (Bristol,  1461),  i,  151;  —  at  Chester,  i, 
32;  —  (Chester,  1610),  i,  230;  —  chevalier  de,  in 
the  1711  Pope-burning,  ii,  175,  n.  3;  —  (Coven 
try,  1474),  i,  154;  —  (Coventry,  1498),  i,  164;  — 
(Coventry,  1826),  ii,  167;  ii,  168,  n.  i;  —  (Co 
ventry,  1851),  ii,  170,  n.  3;  —  (Coventry,  1862), 
ii,  170;  —  and  the  dragon  on  a  banner  (Boston, 
1912),  ii,  246;  —  and  the  dragon  in  "royal- 
entries,"  i,  196; — (Dublin),  i,  22;!,  23;  i,  31  ff.; 
i,  79;  — and  the  dragon  in  a  "triumph"  (Edin 
burgh,  ioo8),ii,  223. 

St.  George  (Hereford,  1486),  i,  159;  —  (London, 
1415),  i,  133,  n.  2-,  —  (London,  1522),  i,  178;  — 
(London,  1604),  i,  223;  —  (London,  1609),  ii, 
30;  ii,  82; — (London,  1681),  ii,  82,  n.  7;  — 
(London,  1895),  ii,  127; — (London,  1913),  i, 
63;  —  with  maiden  and  lamb  (Bristol,  1461),  i, 
152;  —  (Coventry,  1474),  i,  154;  —  (London, 
1547),  i,  186;  —  and  May  games,  i,  24,  n.  i. 

St.  George,  Guild  of,  i,  18  f.;  i,  25  f.;  i,  32  n.  3. 

St.  George  and  the  Order  of  the  Garter,  i,  93,  n.  3; 

—  Order  of  the  Sons  of  (Boston ,  1 9 1 2) ,  ii ,  246 ;  — 
in  a  pageant  at  a  Court  disguising  (1494),  i,  112; 

—  plays,  i,  5;  i,  6,  notes  2  and  3;  i,  7,  n.  i;  i, 
105;  —  plays,  Fool  in,  i,  73;  —  reputed  a  native 
of  Coventry,  ii,  168,  n.  i. 

St.  George,  rescuing  king's  daughter  from  dragon, 
i,  152;  i,  154;  —  accompanied  by  Snap,  at  Nor 
wich,  i,  70,  n.  i;  —  a  "subtlety,"  (1416),  i,  82. 

St.  George's  bar  (London),  i,  133,  n.  2;  i,  175;  — 
Day  at  Chester  (1610),  i,  229^;  —  Day  at 
Salisbury,  i,  65. 

"St.  Giles'  Fair"  (Winchester,  1908),  ii,  224. 

St.  Giles  procession,  (Edinburgh),  i,  16,  n.  6. 

St.  Helen's  Church,  (Worcester),  i,  210. 

St.  James  (London,  1681),  ii,  82,  n.  7. 

St.  James's  palace,  ii,  88,  n.  6. 

St.  John  at  Aberdeen,  i,  33 ; — (London,  1662),  i,  248. 

St.  John,  Champlain's  landing  reproduced  at 
(1904),  ii,  241;  —  night  of,  i,  42;  —  vigil  of,  i, 

375  i,38;  i,  47- 

St.  John  the  Baptist  (London,  1553,  1554),  i,  78;  — 
in  a  "desert"  (London,  1392),  i,  131;  —  (Lon 
don,  1522),  i,  178;  —  in  the  "royal-entry,"  i, 
195;  —  pageant  of,  in  the  1553  Show,  ii,  14;  — 
in  1554,  ii,  15;  —  in  1568  Show,  ii,  21;  —  (1553, 
1554,  1568),  ii,  82. 


416 


INDEX 


St.  John  the  Evangelist  (Coventry,  1456),  i,  H95  — 
pageant  of  (London,  1535-36),  i,  38,  n.  5. 

St.  John's  Church,  (Coventry),  i,  204; —  gate, 
Bristol,  i,  160;  —  pageant  at  (Norwich),  ii,  16 
f.;  —  Wood  (London),  ii,  182;  ii,  183. 

St.  Johnsbury,  Pageant  of  (1912),  ii,  270  f. 

St.  Johnsbury,  the  Knight  of  (St.  Johnsbury,  1912), 
ii,  270. 

St.  Katharine  at  Hereford,  i,  23;  —  (London,  1501), 
i,  167;  — 1620,  1631,  1637,  1699),  ii,  83;  — 
(Malines,  1838),  i,  12,  n.  3. 

St.  Laurence  at  Aberdeen,  i,  33. 

St.  Laurence  Lane,  ii,  35;  ii,  435  ">  48;  ii,  53')  ii» 
55;  ii,  81;  ii,  84,  n.  6. 

St.  Louis  [in  genealogical  table],  (London,  1432),  *> 
146;  — pictured  (Paris,  1498),  i,  164;  — (St. 
Louis,  1914),  ii,  273,  n.  3. 

St.  Louis,  a  pageantic  procession  at  (1847),  ii, 
237  f.;  — Pageant,  the,  of  1914,  ii,  273;  —  the 
Veiled  Prophet  at,  ii,  253  f.  and  notes. 

"St.  Louis,  View  of,  from  the  Illinois  Shore,"  pic 
tured  on  a  banner  (St.  Louis,  1847),  ii,  238. 

St.  Luke,  guild  of,  at  Norwich,  i,  18,  n.  i. 

de  Saint-Lusson,  see  Daumont. 

St.  Magnus  (London,  1298),  i,  19,  n.  3;  i,  57;  i,  78; 
i,  124. 

St.  Magnus'  corner  (London),  i,  173. 

St.  Malo,  pageant  projected  at,  ii,  205. 

St.  Margaret  (Antwerp,  1520),  i,  24,  n.  2;— (Coven 
try,  1456),  i,  150;  — (London,  1445))  i>  H8;  — 
and  the  dragon  in  "royal- entries,"  i,  196;  —  at 
Norwich, i,  26. 

St.  Margaret,  guild  of,  at  Leicester,  i,  21;  i,  31. 

St.  Maria  Novella  (Florence)  Chapel  of,  i,  145, 
n.  2;  ii,  283. 

St.  Martin  at  Aberdeen,  i,  33;  —  (London,  1702), 

ii,  83;  ii,  153- 

St.  Martin's  Church  (London),  i,  184,  n.  3. 

St.  Mary,  guild  of,  at  Beverley,  i,  17. 

St.  Mary-at-Hill,  records  of,  i,  57,  n.  2. 

St.  Michael  (London,  1522),  i,  178. 

St.  Michael's  Church  (Coventry),  ii,  170,  n.  2;  — 
in  Querne  (London),  i,  148;  i,  185. 

St.  Mildred's  Church  (London),  i,  224. 

St.  Nicholas  at  Aberdeen,  i,  33. 

St.  Nicholas,  Dutch  legend  of,  in  the  Hudson- 
Fulton  Pageant,  ii,  243. 

St.  Patrick  (London,  1681),  ii,  82,  n.  7. 

St.  Paul,  vigil  of,  i,  37;  i,  38. 

St.  Paul's  (London,  i,  130;  i,  131;  i,  135,  and  n.  3; 
i,  136;  i,  147;  i,  157;  i,  160;  i,  161;  i,  166,  and 
n.  6;  i,  168;  i,  175;  i,  i?6;  i,  i?8;  i,  186;  i,  188; 
i,  190,  n.  12;  i,  193;  i,  194;  i,  214,  and  n.  4;  i, 
225;  ii,  14;  ii,  32;  ii,  34;  ii,  35;  ii,  41;  ii,  55; 
—  Churchy ard,i,  48;  i,  184;  i,  198;  i,  190,  n.  12; 
i,  202;  i,  228;  i,  242;  ii,  13;  ii,  15;  ii,  19;  ii,  34; 
ii,  48;  11,58;  ii,  79;  ii,8o;  ii,  91;  ii,  114;  ii,ns, 
n.  2;  — Gate,  i,  184;  [dean  of  Paul's  gate],  i, 
189. 


St.  Peter,  night  of,  i,  42;  i,  46;  —  vigil  of,  i,  37;  i, 
38;  i,  42,  n.  2. 

St.  Peter,  statue  of,  (London,  1761),  ii,  96. 

St.  Peter's  Church  (London),  i,  201;  i,  241,  n.  3;  — 
of  Houndgate  (Norwich),  ii,  16. 

St.  Pol,  hotel  of,  jousts  in,  i,  96. 

St.  Prospero  (Reggio,  1453),  i,  148,  n.  4. 

St.  Rumold,  martyrdom  of,  honored  at  Malines, 
i,  12,  n.  3. 

St.  Sebastian  at  Aberdeen,  i,  33. 

St.  Stephen  at  Aberdeen,  i,  33. 

St.  Stephen's,  Norwich,  i,  210. 

St.  Thomas  of  Acres  (London),  i,  173. 

St.  Thomas  at  Canterbury,  i,  34;  —  of  Canterbury 
(London,  1522),  i,  178. 

St.  Ursula  (London,  1501),  i,  167;  —  pageant  of 
(1522),  ii,  ii,  n.  2;  —  (London,  1522),  i,  40,  and 
n.3. 

St.  Wilfred  (Ripon,  1886),  ii,  160;  —  car  of  (Ripon, 
1886),  ii,  161. 

St.  William,  guild  of,  at  Norwich,  i,  17. 

Saints'  images,  i,  xvi;  — and  folk-giants,  i,  51. 

Saints  in  the  civic  shows,  ii,  82  ff . ;  —  in  the  "  royal- 
entry,"  i,  195. 

Sale  of  "properties"  at  Coventry  in  1836,  ii,  169, 
n.  2. 

Salina  (London,  1684),  ii,  62. 

Salisbury,  Bishop  of,  a  yeoman  of  the,  starts 
trouble  (1392),  ii,  4;  —  court  (London),  i,  48;  — 
Henry  VII  at  (1496),  i,  162;  —  Hob  Nob  at,  i,  65; 
i,  70,  n.  i;  i,  162;  —  Marquis  of,  pictured  at  Bel 
fast  (1914),  ii,  181;  —  May  Day  at,  i,  65;  — 
Rogation  Day  at,  i,  65;  —  St.  Christopher  at,  i, 
56,  n.  3;  i,  57;  i,  162;  i,  258;  — St.  George's 
Day  at,  i,  65. 

Salisbury,  Lord  (Lichfield,  1893),  ii,  150. 

Sally  (Boston,  1910),  ii,  267. 

Salter,  Mayor  of  London  (1740),  ii,  92. 

Sailers  (London,  1783),  ii,  99. 

Salters,  early  sixteenth-century  "show"  of,  dis 
cussed,  ii,  9;  —  represented  by  Sabina  (1684), 
ii,  62. 

Salutation  (Bristol,  1574),  i,  206. 

"Salutation  of  Mary  and  Elizabeth"  (Norwich, 
1469),  i,  153;  —  of  the  Virgin  (Aberdeen,  1511), 
i,  170;  —  (Edinburgh,  1503),  i,  169;  —  (Paris, 
1513),  i,  172. 

Sampson,  Louis,  paid  for  carrying  Douai  giants, 
i,  55,  n.  2. 

Samson,  i,  54;  i,  56;  i,  57,  n.  3;  i,  58,  n.  i;  i,  78;  — 
(Coventry,  1461),  i,  151;  —  (London,  1522),  i, 
176;  i,  195. 

"Sanctuary  of  Fame  "  (1619),  ii,  81 ;  —  of  Prosper 
ity  (1626),  ii,  78,  n.  4. 

Sandowne  Gate  (Sandwich),  i,  205. 

Sandwich,  Elizabeth  at  (1573),  i,  205  f. 

Sanger,  Mr.,  provides  elephants  for  the  1884  Show, 
ii,  123;  —  and  son  furnish  "men  in  armor" 
(1879),  ii,  120. 


INDEX 


417 


Santa  Claus  (St.  Louis,  1888),  ii,  253,  n.  5. 

Sapience  (London,  1432),  i,  145; — (London, 
154.7),  i,i86, 

Sapientia  (London,  1554),  i,  194. 

Saracens  in  military  exercises  (1638),  i,  238. 

Sarah  allegorically  explained,  i,  80. 

Sardanapalus  (Edinburgh,  1503),  i,  169. 

Sarum,  place  for  tournament  near,  i,  89. 

Satire  against  the  show  (1867),  ii,  119!.;  —  a, 
combining  qualities  of  pageant  and  morality 
(1606),  ii,  35,  n.  4;  —  by  Ned  Ward,  i,  61;  ii, 
86,  and  n.  i. 

"Satirical  features"  in  the  Bournemouth  celebra 
tion  of  1910,  ii,  238,  n.  3. 

Satyr  (London,  1657),  ii,  47. 

Satyrs,  i,  17,  n.  6;  i,  74;  i,  77;  —  [painted  (London, 
1661)],  i,  246;  — (London,  1663),  ii,  49;  — 
(London,  1671),  ii,  51;  —  (1687),  ii,  85,  n.  2;  — 
with  St.  Martin  (1702),  ii,  83,  n.  3;  ii,  153;  — 
(Ripon,  1886),  ii,  159. 

Saul,  contemporary  of  Ebraucus,  i,  78,  n.  i. 

Saunders,  Mr.,  received  £3  (1704),  i,  253,  n.  2. 

Saunderson,  Colonel,  pictured  at  Belfast  (1914), 
ii,  181. 

"Sauvage,"  at  Lyons  (1627),  i,  77,  n.  i;  —  of  the 
romances,  in  "Don  Quixote,"  i,  74,  n.  3. 

Savages  represent  North  and  South  America 
(1853),  ii,  117. 

"Sauny,"  tune  of,  ii,  60,  n.  2. 

Saxon,  a  (London,  1783),  ii,  98. 

Saxon  period,  the  (Ripon,  1886),  ii,  160. 

Saxony,  mock  death  of  "wild-man"  hi,  i,  51,  n.  2. 

Saybrook,  bicentenary  of  Yale's  removal  from, 
celebrated,  ii,  274. 

"Saybrook,  the  Removal  of  the  Books  from" 
(New  Haven,  1916),  ii,  274,  n.  i;  ii,  275. 

Scandinavian  folk-dances,  i,  4f.;  —  influence  of 
Greece  or  Rome  on,  i,  5;  —  group,  a  (Boston, 
1910),  ii,  267. 

Scarborough  Pageant,  the  (1912),  ii,  219,  n.  3;  ii, 
222,  n.  2. 

Scarfs  and  ribbons  (1629),  ii,  41. 

Scarva,  mock  fight  at  (1914),  ii,  186. 

Scarvagh  House,  sham  fight  on  the  grounds  of,  ii, 
186. 

Scathlocke  (London,  1615),  ii,  144,  n.  i. 

Scene,  unity  of,  not  always  kept  in  English  pag- 
geants,  ii,  199  f.;  —  unity  of,  not  kept  in  the 
Quebec  Pageant,  ii,  263,  and  n.  i;  —  unity  of, 
not  kept  at  Taunton,  ii,  269,  and  n.  2;  —  no 
unity  of,  in  the  Yale  Pageant,  ii,  275. 

Scenery,  i,  xviii;  —  movable,  i,  120,  and  n.  5;  — 
origin  of,  i,  119  f.,  and  notes;  —  prepared  for, 
by  pageant-car,  i,  112. 

Sceptre  Bearer  in  early  Knutsford  processions,  ii, 
iS4,n.4. 

Schenck,  F.,  notes  influence  of  Hainault  on  tourna 
ments,  i,  94. 

Scholasticism  (Boston,  1908),  ii,  282,  n.  i;  ii,  283. 


"School,  the  First,  in  America"  (Boston,  1912), 
ii,  246;  —  a  public,  pageant  (Norristown,  1912), 
ii,  248;  —  pageants,  cost  of,  ii,  206,  n.  2. 

School-house  yard  (Sandwich),  i,  206. 

Schools  to  observe  the  Pilgrim  Tercentenary,  ii, 
276. 

Science  (Boston,  1908),  ii,  282;  — (Edinburgh, 
1908),  ii,  214;  —  (Liverpool,  1907),  ii,  163;  — 
(London,  1585),  ii,  24;  ii,  75,  n.  8;  ii,  77. 

"Science,  the  Temple  of,"  on  a  banner  (St.  Louis, 
1847),  ii,  238. 

Sciences,  Liberal,  see  Liberal. 

Scir  Burn,  the,  origin  of  Sherborne,  ii,  218. 

Scotch  in  the  Boston  procession  of  1912,  ii,  247. 

Scotch  Highlanders  (Knutsford,  1913),  ii,  153;  — 
Settlers  (Norristown,  1912),  ii,  249. 

Scotland,  (Lichfield,  1911),  ii,  152;  —  (London, 
1604),  i,  225;  —  (London,  1662),  i,  249;  — 
(London,  1919),  ii,  141 ;  —  represented  by  a  king 
(London,  1661),  i,  243,  n.  i. 

Scotland,  the  National  Pageant  of,  ii,  202,  n.  4; 
ii,  203,  n.  i;  ii,  207,  and  n.  3;  ii,  214;  —  masque 
in,  ii,  223  f. 

Scott,  Alexander,  "Ane  new  zeir  gift,"  i,  203;  — 
the  Rev.  C.  V.  R.,  author  of  a  children's  "pag 
eant,"  ii,  228,  n.  3;  —  Sir  Walter,  writes  verses 
for  1822  "entry,"  i,  255,  n.  5. 

Scottish  group,  a  (Boston,  1910),  ii,  267;  —  (Taun 
ton,  1911),  ii,  270; — jigs  with  classical  char 
acters  (Elvetham,  1591),  i,  216. 

Scottish  Kings,  portraits  of  (Edinburgh,  1633),  i, 
236. 

Scottish  National  Pageant,  the,  of  1908,  given  for 
a  charity,  ii,  207;  —  Queen  at  London  (1516), 

i,i73- 

Scriptures,  explaining  personified  virtues  and  vices 
(London,  1559),  i,  201. 

"Scriptures"  in  London  civic  shows,  i,  145,  n.  3;  — • 
at  Paris  (1596),  i,  219. 

"Scrooby,  Bradford  leaves"  (Plymouth,  1896),  ii, 
259;  ii,  260. 

Sculpture  represented  at  Lichfield  in  1912,  ii,  152. 

Scylla  and  Charybdis  (1631),  ii,  77,  n.  2. 

"Sea,  the"  (Little  Compton,  1914),  ii,  250. 

Sea-chariot  (London,  1612),  ii,  31;  —  (1638),  ii, 
72;  —  (London,  1657),  ii,  47;  —  (London,  1661), 
ii,  48;  —  (London,  1685),  ii,  63;  —  (London, 
170x3),  ii,  69; — with  Isis  (London,  1662),  i, 
249;  —  with  Thetis  (London,  1662),  i,  250; — • 
Consort  (London,  1628),  ii,  39. 

Sea-gods  vs.  wood-spirits  (Elvetham,  1591),  i, 
216  f.;  —  horses  (London,  1612),  ii,  32;  — horses 
(London,  1629),  ii,  40;  —  horses  (London,  1662), 
i,  249;  —  horses  of  the  Fishmongers  (1761),  ii, 
96;  —  lion  (London,  1629),  ii,  40; — lion  (Lon 
don,  1685),  ii,  63;  —  lion  representing  the  East 
India  Company  (1629),  ii,  72;  — lions  (London, 
1661),  ii,  48;  —  unicorn  (London,  1616),  i,  233. 

Seaman,  in  a  1634  masque  and  pageant,  i,  118. 


418 


INDEX 


Searle,  Mr.,  Bargemaster  (1849),  ii,  114. 

Seasons,  the  (Coventry,  1862),  ii,  170,  n.  7; — 
(Edinburgh,  1908),  ii,  223;  —  (Knutsford,  1913), 
ii,  1535  —  (London,  1628),  ii,  39; — (London, 
1639),  ii,  74;  —  (London,  1677),  ii,  74;  —  (Lon 
don,  1673),  ii,  53. 

"Seasons,  the  Festival  of  the"  (Cambridge,  1919), 
ii,  284. 

Seasons,  the  Four  artificial  figures  [?],  (London, 
1661),  i,  246. 

"Seasons,  the  Four"  (St.  Louis,  1880),  ii,  253;  — 
Masque  of,  at  Edinburgh  (1908),  ii,  223  f.. 

Seasons,  the,  personified  in  various  pageants,  ii, 
191. 

Seat  of  Worthy  Governance  (London,  1559),  i,  200. 

Sebright,  Mayor,  forbids  the  1603  Show  on  account 
of  the  plague,  ii,  28. 

Secular  developments  in  religious  ridings,  i,  32  ff. 

Sedan,  Lady  in  a  (Knutsford,  1913),  ii,  153. 

Sedition  in  a  1671  "interlude,"  ii,  52. 

Sedulity  (London,  1604),  i,  224. 

Segar,  Sir  William,  describes  the  1590  tilt,  i,  215. 

Seger,  paid  for  armor  and  child  (1534),  i,  41,  n.  i 
and  2. 

Self  in  a  1678  "interlude,"  ii,  56. 

Selove,  Thomas,  Warden  of  Grocers'  Company,  ii,  6. 

Semiramis  (Paris,  1431),  i,  138,  n.  4. 

"Senate  House",  ii,  33. 

Senses,  the  Five  (London,  1604),  i,  224;  —  (London, 
1613),  ii,  34. 

Sensuality  in  "Mary  Magdalene,"  i,  108. 

Seriousness  the  keynote  of  the  1914  Show,  ii,  140. 

Serpent  spouting  fire  (London,  1547),  i,  186. 

Serpentine,  fleet  on  the  (1814),  ii,  162. 

Service,  commemorative,  in  connection  with 
modern  pageants,  ii,  212,  and  n.  i;  —  at  Ripon 
Cathedral  opens  millenary  celebration  (1886), 
ii,  159;  —  special,  begins  Pennsylvania  bicen 
tennial  (1882),  ii,  239. 

Services  in  connection  with  the  Norristown  pag 
eant  of  1912,  ii,  248. 

Servitude  at  the  feet  of  Liberty  (London,  1604),  i, 
225. 

Settle,  Elkanah,  in  charge  of  the  Pope-burning  of 
1680,  ii,  172;  — "last  of  the  City  Poets,"  ii, 
65  f.;  —  called  "City  Poet,"  ii,  69;  ii,  70,  n.  2. 

Settlers  (Norristown,  1912),  ii,  249. 

Settlers,  early,  reproduced  at  Philadelphia  (1882), 
ii,  240. 

Settle's  "Glory's  Resurrection"  (1698),  ii,  66;  — 
Shows,  1698-1702,  ii,  68;  —  1708  Show  not  pro 
duced,  ii,  69. 

Sevastopol,  veterans  of,  in  the  1890  Show,  ii,  125. 

Seven  Deadly  Sins  —  see  Deadly. 

Seven-hundredth  anniversary  of  the  mayoralty 
celebrated  in  1889,  ii,  3,  n.  i;  ii,  123  f. 

Seven  Liberal  Arts  (or  Sciences)  —  see  Liberal. 

"Seven  Star  Sisters,  the"  (Marblehead,  1912),  ii, 
277;  ii,  278. 


Severn  (London,  1605),  ii,  29;  ii,   75; — (London, 

1628),  ii,  39. 
Seward,  J.  L.,  historian  for  the  Keene  Pageant,  ii, 

271,  n.  2. 
Seymour,  Lady,  Queen  of  Beauty  at  Eglinton,  ii, 

182,  n.  2;  ii,  184,  n.  5. 
Shaa,  Mayor  (1502),  i,  39. 
Shaftsbury,  founded  by  Hudibras,  i,  78,  n.  i. 
Shakspere,  characters  of  (Lichfield,  1909),  ii,  151. 
Shakspere  (Boston,  1908),  ii,  282;  —  a  character 

in  the  Warwick  Pageant  of  1906,  i,  205,  n.  3 ;  — 

with  characters  from  his  plays  (London,  1908), 

ii,  135- 
Shakspere's    chronicle-histories    drawn    on    for 

modern  episodes,   ii,    219;  —  London  plays  of, 

characters  from  (1910),  ii,  136. 
Sham-fight  at  Preston  (1882),  ii,  165,  n.  2.  See  also 

Mock-fight. 

Shanghai  funeral  "giants,"  i,  50,  n.  4. 
Shannon  (London,  1691),  ii,  75. 
Shannon,  John  P.,  ode  by,  distributed  by  the 

printers  (St.  Louis,  1847),  ii,  239. 
Shaw,  Sir  Edmund  (London,  1889),  ii,  125;  —  John 

(London,  1783),  ii,  100. 
Shawmut,    Blackstone    welcomes    Winthrop    to 

(Boston,  1897),  ii,  260  f.. 
Shearmen  and  Taylors,  stage-direction  in  pageant 

of,  i,  20,  n.  3. 

Sheba,  Queen  of —  see  Queen  of  Sheba. 
Sheet  Metal  Workers'  Union  represented  by  a 

"knight  in  armor"  (Warrington,  1914),  ii,  155. 
Sheldon,  Sir  Joseph,  Mayor  of  London  (1675),  ii, 

54- 

Shene  in  Sotheraye,  citizens  pardoned  at,  i,  130. 
Shepherd  on  a  Drapers'  trade-pageant  (London, 

1638),  ii,  72; —  (Sudeley,  1592),  i,  218,  and  n.  i; 

—  with  Golden  Fleece  (London,  1614),  ii,  36;  — 
and  shepherdess   (1890),   ii,    125;  —  and  shep 
herdess  (Coventry,  1826),  ii,  167;  ii,  168,  n.  i;  — 
(Coventry,  1848),  ii,  170; — (Coventry,  1862), 
ii,  170;  —  and  shepherdess  (Ripon,  1886),  ii,  161 ; 

—  and  shepherdess  in  bower  (London,  1606),  i, 
228,  n.  2. 

Shepherdesses  with  Pan  (Bisham,  1592),  i,  217. 

Shepherds  (Paris,  1513),  i,  172;  —  "drolls"  as 
(1675),  ii,  55;  —  and  shepherdesses  (London, 
1684),  ii,  62. 

Sherborn,  the  American  (Sherborne,  1905),  ii,  211. 

Sherborne,  i,  xix. 

Sherborne  (Sherborne,  1905),  ii,  211;  ii,  214. 

Sherborne  House,  visit  of  Elizabeth  to  (1574)  in 
Gloucestershire  Pageant  (1908),  i,  218,  n.  i;  — 
Pageant,  the  (1905),  ii,  144,  n.  i;  ii,  196,  and 
n.  2;  ii,  197  f.;  ii,  218;  ii,  221,  n.  3;  ii,  230;  ii, 
233;  ii;  262;  —  the  episodes  in,  ii,  210;  —  the, 
profits  of,  ii,  206;  —  School  represented  in  the 
1907  Show,  ii,  134. 

Sheridan,  Jane,  Lady  Seymour,  Queen  of  the 
Eglinton  tournament,  ii,  182,  n.  2;  ii,  184,  n.  5; 


INDEX 


419 


—  R.  B.,  fails  to  answer  his  invitation  to  dinner 
(1809),  ii,  104. 

Sheriffs,  former,  in  Lichfield  procession  (1909),  ii, 
151;  — go  to  Westminster  by  water  (1422),  ii, 

5 1- 

Shields,  music  by,  in  the  1783  pantomime,  ii,  101. 

Ship  of  Champlain  reproduced  at  St.  John  (1904), 
ii,  241;  —  model  of  an  Elizabethan  (1891),  ii, 
126;  —  a  folk,  revived  at  Chester  (1910),  ii, 
224;  —  of  the  xvi  century  (Liverpool,  1907),  ii, 
163,  n.  3;  —  of  the  Vikings  at  Rouen  (1911),  ii, 
164;  —  model  of,  in  Thames's  arm  (1661)  i,  245; 
-(Reggio,  1453),  i,  148,  n.  4;  — (Antwerp, 
1803),  i,  254;— (Antwerp,  1843),  i,  256,  and 
n.  6; —  (Bristol,  1486),  i,  160;  —  at  Chester,  i, 
45,  n.  5 ;  i,  46,  and  n.  4;  —  at  a  christening  feast 
(Edinburgh,  1594),  i,  218;  —  development  of 
the,  ii,  71;  —  carried  by  Fishmongers  (London, 
1313),  i,  126;  —  a,  trade-pageant  of  the  Fish 
mongers,  (London,  1700),  ii,  68;  —  the  Mer 
chant-Taylors'  (1612),  ii,  32;  —  symbolising 
merchants'  trade  (1638),  ii,  72;  —  with  Moorish 
king,  queen,  and  attendants  (1613),  ii,  345  — 
of  silver  (Paris,  1431),  i,  139;  —  of  silver  (Paris, 
1513),  i,  171;  —  upper  deck  of  (London,  1661), 
i,  245;  — of  war  (Bruges,  1515),  i,  173;  — at  a 
wedding  masque  (London,  1501),  i,  113  f.;  —  of 
Isis,  i,  12,  n.  3;  —  Isle  (Elvetham,  1591),  i,  216; 

—  for  the  1602  Show,  ii,  27;  —  of  1602  with 
heraldic  animals,  ii,  72;  —  in  1605  Show  called 
the    "Royal    Exchange,"    ii,    28; — (London, 
1614),  ii,  36;  —  in  1661  Show,  ii,  48;  —  of  1687, 
ii,  71;  —  of  1841  on  a  car,  ii,  in. 

Shipley,  received  for  music  £56,  5$.  (1704),  i,  253, 
n.  2. 

"Ships,"  folk-custom  centers  around,  i,  ii  ff. 

Ships,  historical,  reproduced  in  modern  pageants, 
ii,  237,  n.  4;  ii,  276;  —  models  of  (London,  1902), 
ii,  129;  —  models  of,  at  Philadelphia  (1882),  ii, 
240;  —  reproductions  of  (St.  Louis,  1847),  ii, 
237; — m  a  wedding  masque  (Rouen,  1558),  1,98. 

Shipwright  (London,  1628),  ii,  39. 

Shipwrights  with  Noah's  Ark  (London,  1783),  ii, 
99. 

Shipwrights  Pageant  (Bristol,  1486),  i,  160. 

Shirley,  John,  a  pageantic  masque  for  the  Inns  of 
Court  by  (1634),  i,  117;  —  on  pageantic  "wild- 
men"  (1652),  ii,  21,  n.  2;  —  and  Pepys  voice 
later  attitude  toward  the  show,  ii,  35,  n.  4. 

Shirley's  "Triumph  of  Peace,"  cost  of,  i,  118;  ii, 
206,  n.  2. 

Shobman,  Mr.,  hired  to  "attend  upon  "  David's 
pageant  (1561),  ii,  18. 

Shoemakers  of  Dublin,  i,  179. 

Shooting  at  the  Butt,  1300  (in  the  1889  Show),  ii, 
124. 

Shoreditch  (London),  i,  157 . 

Shorter,  Sir  John,  Mayor  of  London  (1687),  i,  63, 
and  notes  7  and  8. 


Show  for  1540,  ii,  n,  and  n.  2;—  1553,  ii,  13  f.;  — 
1554,  ii,  155—1556,  ii,  151.;— 1557-60,  ii,  17; 
-i56i,ii,  i8f.; — 1562,  ii,  19;  —  1566,  ii,  20  f.; 

—  1568,  ii,  215  —  1569,  planned,  but  not  given, 
ii,  215  —  1573,  ii,  215  —  1574,  ii,  225  —  ^1575], 
ii,    22;  — 1582,    abandoned,    because    of    the 
plague,  ii,  22 ;  —  1585,  ii,  23  f . ;  —  1588,  ii,  24  f . ; 

—  1590,  ii,  255  — 1591,  ii,  25  f.;    — 1602,  ii,  27  f. 

—  1605,  ii,  28  f. ;  —  1609,  ii,  29  f. ; — 1610,  ii, 
30; — 1611,  ii,  31;  —  1612,  i,  in;   ii,  31  f.;  — 
1613,  i,  in ;  ii,33f.;  ii,  213  f.;  —  1614,^,36 ;  — 
1616,  ii,  375—1617,  ii,  37  f.;   ii,  206,  n.  25  — 
1618,  ii,  385  —  1623,  ii,  385  —  1624,  ii,  385  — 
1625,  omitted,  ii,  395  —  1628,     ii;  395  —  1629, 
ii,  40 f. 5  —  1633,  ii,  41,  n.  65—1634,  ii,  425  — 
1635,  ii,  425—1643-53,  unpageantic,  ii,  435  — 
1655,  ii,  445—1656,  ii,  45  f. ;— 1657,  ii,  475  — 
1660,  ii,  47  f.; — 1661,  river  part  of,  ii,  485  — 
1663,  ii,  49; — 1671,  ii,  50 f.; — 1672  and  1673 
compared,  ii,  52^5  —  1675,  ii,  54^5—1679,  ii, 
57  f.;— 1680,  ii,  595  —  1681,  ii,  595  —  1682,  ii, 
605  —  1684,  ii,  6if.;  —  1685,  ii,  62  f.;   ii,  206, 
n.  2;  —  1688,  ii,  64;  —  1689-1698,  ii,  65  f.; — 
temp.  William  and  Mary,  ii,  66  f.; — 1700,  ii, 
68  f. ;  —  of  the  early  xviii  century,  ii,  86  f. ;  — 
1727-1740,  ii,  88  f.;  —  1740,  ii,  91  f.; — 1761, 
ii,    94  f-;  — 1804,    ii,    103;— 1809,    ii,    1045  — 
1815, ii,  104; —  1821,  ii,  105  f.; —  1822,  ii,  106  f.; 
1823,  ii,  108; —  1839,  ii,  in;  —  1841,  ii,  in  f.; 
—  1842,  ii,  112;  —  1842-49,  ii,  ii2f.; — 1849, 

ii,  113; — 1850,  ii,  115  f.;  — 1852  omitted,  ii, 
1165—1853,  i,  2565  ii,  n6f.;— 1858,  ii,  119, 
and  n.  i; —  1881,  ii,  121;  —  1883,  ii,  121  f.;  — 
1884,  ii,  122  f.;—  1885,  ii,  1235—1889, ii,  123  f.; 

—  1890,  ii,  125  f.;  —  1891,  ii,  126;  —  1892,  ii, 
126  f. ; — 1895,    ii,    127  f. ; — 1896,    ii,    128;  — 
1901,  ii,  128; —  1902,  ii,  129; —  1904,  unity  in, 
ii,  130 f.; — 1905,  ii,  131  f.;— 1906,  ii,  132  f.;  — 
1907,  ii,  133  f. ;— 1908,  ii,  1355  —  1910,  ii,  136; 

—  1913,  ii,  365  ii,  137  f.;  ii,  138;  —1914,^,139; 
ii,  142,  n.  2;  —  1915,  ii,  140 f.;  —  1919,  ii,  141. 

Shows  interrupted  (1695-98),  ii,  66; — become  mere 

processions,  ii,  86  f . 
Shrewsbury,  Earl  of,  entertains  James  I  (1603),  i, 

22 2,  n.  i; — Show,  the,  i, 32  ff.;  i,  57,  n.  2;  ii,  165. 
Shrine  of  St.  Edmund,  model  of  (1907),  ii,  133. 
Shute,  John,  pageant-maker  (1561),  ii,  18. 
Shylock  (Lichfield,  1893),  ii,  150;  ii,  153; —  (Lich 
field,  1909),  ii,  151;  ii,  153. 
Sibyls  (Kenilworth,  1575),  i,  208. 
Sideros  (London,  1618),  ii,  38. 
Sidmouth,  Viscount,  protests  against  return  from 

Westminster  by  land  (1816),  ii,  105;  —  refuses 

the  military  (1821),  ii,  106. 
Sidney,  Alderman,  Mayor  of  London  (1853),  ii, 

116;  —  Master  Philip,  in  a  tilt,  (1581),  i,  97;  i, 

213. 

Sidney,  Sir  Philip  (London,  1911),  ii,  136. 
Siege  of  Lichfield  recalled  (1908),  ii,  151,  n.  3. 


420 


INDEX 


Siena,  "royal-entry,"  at  (1465),  i,  14,  n.  i. 

Sigismund  at  London  (1416),  i,  137. 

Significance  of  coronation  pageant  of  Anne  Boleyn, 
i,  180. 

Signs  in  streets  authorized  (1657),  ii,  47. 

Silchester,  scene  in  the  English  Church  Pageant 
laid  at,  ii,  202. 

Silenus,  head  of,  found  at  Colchester,  i,  72,  n.  5. 

Silenus  drives  a  car  showing  the  vintage  (Alexan 
dria),  i,  17,  n.  6; —  painted  (London,  1661),  i, 
246;  —  (St.  Louis,  1878),  ii,  253,  n.  2. 

Silver  Street  (London),  ii,  46. 

Simeon,  at  Beverley,  i,  17. 

Similarities  and  influences,  ii,  144,  n.  i. 

Similarity  of  shows  explained,  ii,  65. 

Simon  of  Montfort  (London,  1907),  ii,  133. 

Simplicity  (London,  1613),  ii,  34. 

Sinclair,  Patrick,  participates  in  a  tourney  (1503), 
1,96. 

Singing  Societies,  Swedish  and  German  (Boston, 
1912),  ii,  247. 

Sins  —  see  Deadly. 

Sir  Brown  defeated  by  Clariodus,  i,  75,  n.  3;  — 
Gareth  appears  in  different  colored  armor,  i,  89; 

—  Gowther  fights  in  a  three-day  tournament,  i, 
89;  —  Lancelot  in  different  colored  armor,  i,  89; 

—  Thomas  of  Gravisend,  i,  57,  n.  2;  —  Valen 
tine  of  gigantic  height,  i,  53,  n.  i. 

Sirens  (Antwerp,  1803),  i,  254;— (London,  1631), 
ii,  77,  n.  2;  —  (London,  1661),  ii,  48;  —  (Paris, 
1431),  i,  139;  —  with  the  1594  ship  at  Edin 
burgh  christening  banquet,  i,  219. 

"Sister  Helen,"  superstition  in,  ii,  178;  ii,  170. 

Site  of  discovery  of  Massasoit  the  scene  of  history 
revived  (Plymouth,  1801),  ii,  236;  —  for  the 
York  Pageant  discussed,  ii,  200. 

Sixtieth  Street  (New  York),  ii,  256. 

Skevington,  Alderman,  to  provide  livery  at  the 
1522  "entry,"  i,  174. 

Skinners  assessed  for  pageants  (1522),  i,  174,  n.  6; 

—  barge  of  (1761),  ii,  95;  — (1822),  i,  255;- 
disposal  of,  ii,   119,  n.   i;  —  dispute  of,  with 
Merchant-Taylors,    ii,    9;  —  expenses    of,    for 
1689  pageants,  ii,  64,  n.  5;  —  Midsummer  pag 
eants  of  (London,  1535-36),  i,  38,  n.  5;  —  1628 
pageant  of,  ii,  39;  —  1656  pageant  of,  ii,  46;  — 
in  1657,  ii,  47;  —  represented  by  Pelicula  (1684), 
ii,  62;  —  suggested  by  luzern,  ii,  23,  and  n.  3;  — 
trade-pageant    for    (1671),    ii,    50  f.;  —  trade- 
pageantry  of  the  (1761),  ii,  95;  ii,  96. 

Skinners  (London,  1783),  ii,  99. 

Skinners'  Hall,  Show  of  1671  ends  at,  ii,  52. 

Slasher  —  see  Beau  and  Captain. 

Slater  of  Scotland  (London,  1522),  i,  177. 

Slave  trade,  car  representing  the  (Liverpool,  1907), 

ii,  163,  n.  3. 
Sleeping  Beauty   (Cambridge,    1919),    ii,    284;  — 

(Lichfield,  1893),  ii,  150;  —  (Lichfield,  1914),  ii, 

152. 


Sloth  (London,  1612),  ii,  32. 

" Slumberland "  (Revere,  1912),  ii,  254. 

Small  town,  the,  and  the  pageant,  ii,  202  f. 

Smirk,  Mr.,  painter,  his  part  in  the  1783  panto 
mime,  ii,  101;  —  painter  of  a  transparency 
(1801),  ii,  102. 

Smith,  Adam,  paid  for  damage  done  by  pageants 
(Edinburgh, 1 558),  i,  195;  —  Sir  James,  Mayor 
of  London  (1684),  ii,  61,  n.  4;  —  Lucy  T.,  on 
Corpus  Christi  at  York,  i,  21;  —  William, 
writes  account  of  Bath  festivities  (1661),  i,  243, 
n.  i;  —  William,  his  account  of  a  show  (c  1575), 
ii,  22;  —  and  Marriott  paid  for  "knights" 
(1847),  ii,  113. 

Smithers,  J.,  to  furnish  music  (1849),  ii,  114. 

Smithfield,  jousts  and  tournaments  at  (1334),  i, 

9i;  —  (i343),  i>92;  — (i375)i  if  95J  —  (i442),i, 
96. 

Smithford  Street  (Coventry),  i,  149. 

Smiths  of  Dublin,  i,  179. 

Smiths'  Pageant  at  Coventry,  1565,  i,  204,  and 
n.  i. 

Smoking  not  allowed  in  the  barge  (1768),  ii,  97. 

Smugglers  (Scarborough,  1912),  ii,  222,  n.  2. 

Smyth,  Sir  Thomas  (London,  1895),  ii,  127. 

Snail  Mount  (Elvetham,  1591),  i,  216. 

"Snap,"  the  dragon,  i,  26,  n.  3;  i,  27,  and  n.  6;  i, 
28,  and  notes;  i,  29;  i,  65;  i,  70,  n.  i. 

Snape,  provider  of  costumes  for  early  Knutsford 
processions,  ii,  154,  n.  4. 

Snatch  shows  rascality  covered  by  mumming,  i, 
104. 

"Snyder,  Governor,  signing  the  Charter"  (Norris- 
town,  1912),  ii,  249. 

Soame,  Sir  Stephen,  to  advise  about  1606  "entry," 
i,  227. 

Social  and  moral  results  of  pageantry  in  our  day, 
ii,  203  f.,  —  service  and  pageantry,  ii,  292;  ii, 
301  f . ;  —  side  of  history  stressed  at  Peter 
borough,  ii,  264. 

Socialists,  the,  use  animals  with  political  signifi 
cance  (Boston,  1912),  ii,  255. 

"Society  of  the  Garter,"  i,  93. 

Socrates  (London,  1681),  ii,  83. 

Sol  (London,  1628),  ii,  39;  ii,  40. 

Soldier-senator  (London,  1585),  ii,  24;  —  (London, 
1660),  ii,  81. 

Soldiers  of  Russia  and  Japan  clasp  hands  (1905), 
ii,  131;  —  and  sailors  of  France  and  England 
(1905),  ii,   131;  —  welcomed  with  pageantry 
(1919),  ii,  256  f. 

Soldiers  (Peterborough,  1910),  ii,  264;  —  of  the 
Revolution  impersonated  by  the  National  Guard 
(Norristown,  1912),  ii,  249,  n.  6;  —  of  Wolfe 
and  Montcalm  (Quebec,  1908),  ii,  240. 

Solemn  days  used  (1680),  ii,  58. 

Solo-dances  (Boston,  1910),  ii,  266;  ii,  267. 

Solomon  in  the  Dublin  "Fringes,"  i,  23,  n.  3;  — 
(Edinburgh,  1579),  i,  213,  n.  i;  — (Paris,  1513), 


INDEX 


421 


i,  171,  n.  4;  —  (York,  1486),  i,  158;  —  pageant 
of  (London,  1535-36),  i,  38,  n.  5. 

Somerset  House,  London,  i,  228;  ii,  173. 

Song,  the,  in  the  Boston  Normal  School  Pageant 
(1908),  ii,  282,  and  n.  i;  —  in  Cambridge  "pag 
eant,"  ii,  284;  —  suggesting  a  "debat"  (1682), 
ii,  62. 

Song  (Edinburgh,  1908),  ii,  223;  —  (Lichfield, 
1909),  ii,  151.  ^ 

Songs  in  the  civic  shows,  ii,  84;  —  by  Jordan 
(1683),  ii,  61;  —  in  the  Marblehead  "pageant" 
of  1912,  ii,  278;  —  in  the  1682  pamphlet,  ii,  60. 

"Songs,  Old  Time"  (St.  Louis,  1897),  ii,  253  f. 

Soothfaslness  in  "Chasteau  d' Amour,"  i,  80. 

Soper  lane  (London),  i,  167,  and  n.  6;  i,  190;  i, 
201;  i,  224;  —  end  (London),  ii,  33;  ii,  46;  ii, 

77- 

Sophrosyne  (London,  1605),  ii,  29,  n.  2. 
"Soteltye"  —  see  "subtlety." 
Sotherne,  Nicholas,  pageant-maker  (1612),  ii,  32. 
Sotherton,  John,  stores  Norwich  pageant,  i,  35, 

n.  2;  —  witnesses  gift  of  pageant  to  "commonal 
ty"  of  Norwich,  ii,  12. 
"de  Soto,  death  of"  (St.  Louis,  1892),  ii,  253,  n.  6; 

—  discovering  the  Mississippi"  (St.  Louis,  1886), 

ii,  253,  n.  4. 
"Soul,"  the,  of  masque  and  pageant,  ii,  288;  — 

of  the  older  in  the  more  modem  pageant,  ii, 

212;  ii,  231;  —  of  pageantry,  i,  xvii; —  of  pag 
eantry  in  the  masque,  i,  85. 
South  Africa,  car  emblematical  of  (1895),  ii,  127;  — 

represented  by  a  car  in  "Britannia's  Muster," 

ii,  188;  ii,  189. 
South  Africa  (Lichfield,  1911),  ii,  152;  —  (London, 

1919),  ii,  141. 

South  America  (St.  Louis,  1892),  ii,  253,  n.  6. 
Southampton,  England,  scene  at,  in  the  Boston 

"festival"  of  1897,  ii,  260. 
South wark  Bridge,  ii,  117. 
Southwerke  (London),  i,  190,  n.  12;  i,  191. 
Sower,  The  (Paris,  1431),  i,  140. 
Spaniard,  a  (London,  1617),  ii,  76. 
Spaniards,   Company  of,   to   answer   concerning 

their  pageant  in  1554,  i,  190. 
" Spanish- American  War,  the"  (Providence,  1919), 

ii,  289. 
Spanish-American  War,  a  scene  of  the  (Norristown 

1912),  ii,  250. 
Spanish,  the,  in  the  New  York  Pageant  of  1918,  ii, 

252. 

Spanish  girls  (Knutsford,  1913),  ii,  153. 
Speakers  furnished  for  1629  pageants,  ii,  40;  — 

in  the  1635  Show,  ii,  42. 
Spectacle,   a,   in  connection  with  Philadelphia's 

celebration  of  American  Independence  (1788), 

ii,  236. 
Spectacle-makers,   trade-pageant   of  the,   in  the 

1902  Show,  ii,  129. 
"Spectator,"  the,  on  the  1674  dinner,  ii,  54. 


Spectators,  the,  effect  of  the  modern  pageant  on, 
ii,  204;  —  at  Eglinton  tournament  requested  to 
wear  costumes  of  earlier  centuries,  ii,  184. 

Speech  of  explanation  with  a  Norwich  pageant 
(1469),  i,  153.;  —  in  the  Taunton  Pageant  of 
1911,  ii,  270,  n.  2;  —  in  the  Quebec  Pageant  of 
1908,  ii,  263,  and  n.  2;  —  in  the  Peterborough 
Pageant,  ii,  265,  n.  i ;  —  and  pantomime  at  Thet- 
ford,  ii,  270;  —  in  the  Marietta  Pageant  of  1888, 
ii,  258,  and  n.  3;  —  none,  in  the  Plymouth 
"festival"  of  1896,  ii,  259;  —  in  the  Lancaster 
Pageant  of  1912,  ii,  264;  —  dance,  and  mock- 
fighting  in  folk-plays,  i,  105;  —  in  the  Boston 
"festival"  of  1897,  ii,  260,  and  n.  2. 

Speeches  in  1609  Show  badly  learned,  ii,  30,  — 
the  1585  Show,  ii,  23  f.,  —  in  1561  Show,  ii,  18; 
— hi  1566  Show,  ii,  20; — in  the  1553  Show,  ii,i4; 
—  in  1415  "entry,"  i,  136,  and  n.  2. 

Spencer,  Sir  John,  Mayor  of  London  (1594),  ii,  27. 

Spenser,  Edmund  (London,  1908),  ii,  135. 

Spirit  of  America,  the  (Boston,  1910),  ii,  268;  — 
(Taunton,  1911),  ii,  270;  —  of  the  Age  (Oxford, 
1907),  ii,  223;  —  of  Civilization  (St.  Johnsbury, 
1912),  ii,  270;  —  of  the  Night  (Marblehead,  1912), 
ii,  277;  ii,  278;  —  of  the  Sea  (Little  Compton, 
1914),  ii,  250. 

"Spirit"  of  the  Parkerian  combined  with  "tech 
nique  "  of  the  older  pageantry,  ii,  244,  and  n.  3 ;  — 
of  pageantry,  i,  xvii;  —  of  the  modern,  and 
"technique"  of  the  older  pageantry  combined 
at  Norristown  in  1912,  ii,  250;  —  of  the  masque,  i, 
84;  —  of  the  earlier  in  the  modern  pageant,  ii, 
212;  ii,  232;  —  of  the  newer  pageantry  mirrored 
in  the  xx  century  Lord  Mayor's  Shows,  ii,  142 ;  — 
shown  by  participants  in  the  York  Pageant,  ii, 
200. 

"Spirit  of  '76,  the"  (Providence,  1919),  ii,  289;  — 
(Norristown,  1912),  ii,  249;  —  (Little  Compton, 
1914),  ii,  251. 

Spirits  of  mountains,  river,  and  the  intervale 
(Thetford,  1911),  ii,  270;  —  of  the  Mountains, 
Forests,  Rivers,  and  Valleys  (St.  Johnsbury, 
1912),  ii,  270;  —  of  Light,  Life,  and  Joy  (Edin 
burgh,  1908),  ii,  214;  —  of  Gothic,  Renaissance, 
and  Byzantine  Architecture  (Cambridge,  1911), 
ii,  287. 

Spirits  of  nature  in  "The  Festival  of  Empire" 
(1911),  ii,  225. 

Spirling,  Gilbert,  exhibits  pageant  (Norwich, 
1469),  i,  153. 

"Splayed  Eagle"  (inn),  i,  192. 

Sponstreet  gate  (Coventry),  i,  164. 

Sports  and  Pastimes  illustrated  (1889),  ii,  124. 

Sportsmen  with  trophies  (1890),  U,  125. 

Spring  (Washington,  1914),  ii,  255;  —  (Stuttgart, 
1617),  i,  234;  —  (London,  1677),  ii,  74;  —  (Edin 
burgh,  1908),  ii,  223;  —  (Cambridge,  1919),  ii, 
284. 

Springfield,  street-pageant  at  (1908),  ii,  241. 


422 


INDEX 


Springtime  (Lichfield,  1913),  ii,  152. 

Spurriers'  guild,  car  of  (Ripon,  1886),  ii,  161. 

Squibs,  rules  against  (1674),  ii,  53;  —  precepts  con 
cerning,  ii,  14,  n.  i;  —  precepts  against,  ii,  14, 
n.  i;  ii,  88;  —  precept  against  (1857),  ii,  118;  — 
precept  against  (1856),  ii,  117;  —  forbidden 
(1816),  ii,  104; — (1826,  1827,  1830),  ii,  104, 
n.  7. 

Squire,  John,  bailiff  of  Dublin  (1528),  i,  179. 

Stable  Honor  (London,  1533),  i,  183. 

Stadium,  the  Harvard,  ii,  289;  —  of  the  College  of 
the  City  of  New  York,  ii,  289;  ii,  290. 

Stafford,  John,  banquet  of  (1425),  i,  83,  n.  4. 

Stag,  " subtlety"  of,  i,  83. 

Stage-managing  in  Mr.  Parker's  pageants,  ii,  199; 

—  coach  and  motor  car  (1901),  ii,  129;  —  coach 
and  motor-car  (1896),  ii,  128;  —  [with  towers] 
at  Fleet  Street  Conduit  (1559),  i,  202;  —  the, 
and  the  modern  pageant,  ch.  viii,  §  4  (ii,  208  f.), 
ii,  229;  —  the  original  ''pageant,"  i,  xvi. 

"Stage-play"  at  Coventry  (1511),  i,  170. 
Stamford,  place  for  tournament  near,  i,  89. 
Stamitz,  music  by,  in  the  1783  pantomime,  ii,  101. 
Stamp-man,  effigy  of  burned  (Boston,   1765),  ii, 

177. 
Standard,  in  Cheapside,  i,  165;  i,  167,  i,  168;  i, 

173,  i,  178;  i,  180;  i,  188;  i,  189;  i,  190;  i,  201; 

i,  241,  n.  3;  i,  245;  ii,  35. 
Standing  of  stationers   and  Turners  determined 

(1678),  ii,  56. 

Standon,  William,  chosen  mayor  (1392),  ii,  5. 
Stanford,  Sir  Charles,  composed  music  for  the  1914 

"Tournament,"  ii,  190,  n.  i. 
Stanley  hi  the  Lichfield  "Bower,"  ii,  149,  n.  4. 
"Star,"  the  1839  transparency,  ii,  in,  n.  4. 
"Star-Spangled  Banner,  the,"  sung  at  Providence 

masque,  ii,  289;  —  (Washington,  1913),  ii,  285; 

—  (Keene,  1913),  ii,  272;  —  played  in  the  1881 
Show,  ii,  121. 

Stars,  the  (Edinburgh,  1908),  ii,  223. 

State  Coach  of  the  king,  ii,  93,  n.  4;  —  in  early  pro 
cessions,  ii,  5. 

States  represented  in  political  pageant  (New  York, 
1912),  ii,  255. 

States  adjoining  Vermont  personified  (St.  Johns- 
bury,  1912,  and  Thetford,  1911),  ii,  270;  —  per 
sonified  (Providence,  1919),  ii,  289;  —  the,  per 
sonified  (Washington,  1914);  —  the  Thirteen 
(Boston,  1912),  ii,  246,  n.  4. 

"States,  the  Thirteen  Original"  (Marblehead, 
1912),  ii,  278. 

Stationers  assigned  place  in  London  processions, 
ii,  17;  —  to  follow  Poulterers,  i,  203,  n.  3;  — 
and  Turners  (1678),  ii,  55  f. 

Stations  of  pageants  at  Coventry  (1565),  i,  204;  — 
of  pageants  (London,  1518),  i,  173. 

Statuary  Hall  (Chicago  Art  Museum),  ii,  283. 

Statue  of  Liberty  (1905),  ii,  131,  and  n.  4. 

Staynegate  (York),  i,  159,  n.  i,  and  n.  3. 


Steam-boat  captains  on  the  model  of  the  "General 
Pike,"  ii,  237,  n.  4;  —  Company,  the  London 
and  Westminster  Iron,  offers  to  tow  the  State 
Barge  (1839),  ii,'  in;  —  Company,  the  Iron, 
Superintendent  of,  summoned  to  1849  Com 
mittee,  ii,  114. 

Steele  (Oxford,  1914),  ii,  203,  n.  i. 

Steelyard,  the,  i,  180,  and  n.  2;  i,  182,  n.  5;  i,  190; 
i,  192. 

Steeple-climber  casting  fire  delights  spectators 
(Chester,  1610),  i,  230,  and  n.  3;  —  (London, 
1553),  i,  189;  —  (London,  1554),  i,  193  f. 

Stella  Marls  (Paris,  1513),  i,  171. 

Stepney,  tourney  at  (1305),  i,  90;  —  (1309),  i,  75; 
—  (133°).  i>  127;  —  (1331),  i,  90. 

Steropes  (London,  1685),  ii,  63. 

Stevens,  Frank,  on  origin  of  Salisbury's  St.  Christo 
pher,  i,  57;  —  on  "Old  Snap"  or  "Hob-Nob,"  i, 
65;  i,  70,  n.  i;  —  T.  W.,  his  "Pageant  of  the 
Italian  Renaissance,"  ii,  283;  —  author  of  the 
St.  Louis  Pageant  (1914),  ii,  273,  n.  i. 

Stevenson,  Andrew,  treasurer  of  Edinburgh  (1579) 
i,  212. 

Steward,  Augustine,  Mayor  of  Norwich  (1556), 
ii,  16,  n.3. 

Stewart,  William  [interpreter?]  at  Edinburgh 
(1579),  i,  212. 

Sthenelus  (Winchester,  1908),  ii,  225. 

Stilts,  a  man  on,  recalls  the  London  giants  (Bos 
ton,  1912),  ii,  246. 

Stock-riders  (London,  1901),  ii,  128. 

Stocks,  the  (London),  i,  37;  i,  174;  i,  177;  i,  189; 
i,  245. 

Stocks-Market,  ii,  92. 

Stokes,  Mr.,  to  furnish  music  for  1821  procession, 
ii,  105,  n.3. 

Stondon,  William,  Mayor  of  London  (1392),  i,  131; 

ii,  5- 
Stone,  Edward,  paid  for  riding  to  meet  the  king 

(1461),  i,  150;  —  Stairs  (London,)  ii,  45. 
Stonehenge,  model  of,  in  the  1914  "Tournament," 

ii,  189. 
Story,  a  connected,  in  the  Marblehead  "pageant" 

(1912),  ii,  278. 

Stow,  John,  describes  setting  of  London  Mid 
summer  Watch,  i,  37. 
Strand  (London),  i,  223;  i,  225,  and  n.  5;  i,  226; 

i,  243,  n.  i. 

Straw,  Jack  (London,  1590),  ii,  25. 
Straw-hats,  i,  22,  n.  7;  i,  38,  n.  5;  i,  42. 
Street-pageantry    and    decoration    discussed,    ii, 

256. 
Streets  to  be  cleansed  (1702),  ii,  69,  n.  3;  —  to  be 

kept  clear  (1677),  ii,  55;  —  to  be  kept  clear 

(1858),  ii,  119;  —  to  be  cleared  of  traffic  (1740), 

ii,  92. 
Strength    (Coventry,    1456),    i,    149;  —  (London, 

1684),  ii,  62.  [See  also  Fortitude.] 
Strephon  (Coventry,  1848),  ii,  170. 


INDEX 


423 


Structure,  the,  of  the  pageant,  ch.  viii,  §  5  (ii, 

210!.). 
Struggle  between  Winter  and  Summer,  i,  pp.  4,  5, 

6,  andn.  2. 
Strutt,  Joseph,  defines  "subtlety,"  i,  84;  —  Joseph, 

on  "tournament,"  i,  87;  i,  100. 
Stuart,  Robert,  Bishop  of  Caithness,  i,  190,  n.  12. 
Students  of  Edinburgh  University  burn  the  Pope 

in  effigy  (1680),  ii,  174. 
Stuttgart,  tournament  at  (1609),  i,  99;  —  Duke 

of  Wurttemberg  at  (1609),  i,   99;  —  (1617),  i, 

234- 

Stuyvesant,  scenes  from  the  life  of  (New  York, 
1909),  ii,  243. 

Subscriptions  for  the  Coventry  procession  of  1862, 
2,171. 

"Subtleties,"  ch.  i,  §  10;  (i,  82  ff). 

Success  (Boston,  1910),  ii,  266. 

Sudeley,  Elizabeth  at,  i,  218. 

Suffolk,  Duke  of,  in  Anne  Boleyn's  coronation- 
procession  (1533),  i,  182;  —  Elizabeth  in,  i,  210 
n.3. 

Suffrage  (Providence,  1919),  ii,  289. 

Suffragettes'  march  has  a  hint  of  pageantry  (Lon 
don,  1910),  ii,  255,  n.  2. 

Sulgrave  Institution,  the,  to  take  part  in  the 
"Mayflower"  tercentenary,  ii,  276. 

Summer  (Cambridge,  1919),  ii,  284;  —  (Edin 
burgh,  1908),  ii,  223;  —  (London,  1677),  ii,  74; 
—  contest  with  Winter,  i,  4  f . ;  i,  51;  i,  72,  and 

n-5- 
"Sun,  Chariot  of  the"  (St.  Louis,  1878),  ii,  253, 

n.  2. 

Sun  Goddess,  the  (Cambridge,  1919),  ii,  284. 
"Sun  Princess,  the"  (Revere,  1912),  ii,  254. 
"Sun's  Bower"  (1628),  ii,  39. 
Supernumeraries  of  history,  the,  ii,  264. 
Superstition    (London,    1559),    i,    200;  —  a   friar 

(London,  1591),  ii,  26;  ii,  77. 
Surbutt,  Thomas,  churchwarden  (1535),  i,  57,  n.  2. 
Surrender  of  Liverpool,  car  illustrating  the  (1907), 

ii,  163,  n.  3. 
Survey,  where  to  stop  the  historical,  in  English 

pageants,  ii,  221  f.;  ii,  221,  n.  3;  ii,  222,  n.  2. 
Survival  of  folk-animals,  i,  70. 
Survivals  and  revivals,  i,  9  ff.;  ii,  ch.  vii;  —  and 

revivals  in  modern  times,  ch.  vii  (ii,  146  f.). 
Sutler,  M.,  in  one  of  his  omnibuses  (St.  Louis, 

1847),  ii,  238. 

Sutton,  George,  on  the  Godiva  procession  at  Coven 
try,  ii,  166  f . 

Swab,  ii,  76;  —  in  a  1678  "interlude,"  ii,  56. 
Swansea,  Prince  and  Princess  of  Wales  at  (1881), 

1,257. 

Swedes  (Philadelphia,  1882),  ii,  240. 
Swedes  in  the  Boston  procession  of  1912,  ii,  247. 
Swedish  settlers  (Norristown,  1912),  ii,  249. 
"Sweep"  in  early  Knutsford  processions,  ii,  154, 

n.4. 


Swift,  Jonathan,  a  satire  reminiscent  of,  i,  62,  n.  2. 
Swinerton,  Sir  John,  Mayor  of  London  (1612),  ii, 

127,  n.  3;  —  John,  Sheriff  (1602),  ii,  27. 
Swiss  girls  (Knutsford,  1913),  ii,  153. 
Swiss  in  the  New  York  Pageant  of  1918,  ii,  252. 
Sword  in  the  City  shield,  the,  ii,  80,  n.  7. 
Sword-dance,  a,  in  the  York  Pageant  (1909),  ii, 

224,  n.  7. 
"Sword-dance,"  or  "sword  play,"  i,  4f.;  i,  6;   i, 

10,  n.  i;  —  dancers  (Ripon,  1886),  ii,  161. 
Swords,  symbolism  of,  at  coronations,  i,  154  f. 
Swynegale  (York),  i,  159,  n.  i,  and  n.  3. 

Sykes,  Sir  Mark,  planner  of  the  1914  "Tourna 
ment,"  ii,  190,  n.  i. 

Sylvans  (London,  1671),  ii,  51. 

Sylvanus  (Elvetham,  1591),  i,  216;  i,  217,  and  n.  i; 
— (Kenilworth,  1575),  i,  209;  —  (London, 
1604),  i,  224;  i,  225,  n.  i;  —  a  development  of 
the  "wild-man,"  i,  73,  and  n.  5;  —  in  a  masque 
(1613),  i,  206,  n.  6;  —  recalled  by  the  Power  of 
the  Wilderness,  ii,  270. 

Sylvia  (London,  1684),  ii,  62. 

Symbolical  characters  in  pageantry,  i,  8 iff., — 
dance,  the,  in  the  "festival,"  ii,  283;  —  element 
in  French  "feux  d'artifice,"  i,  241;  —  represen 
tation  of  the  Companies,  ii,  73  f. 

Symbolism,  i,  xvi,  xvii;  —  in  the  American  pag 
eant,  ii,  233 ;  —  in  the  Boston  Normal  School 
Pageant,  ii,  282,  and  n.  i;  ii,  283;  —  in  the 
Boston  Pageant  of  1910,  ii,  266;  ii,  267;  ii,  268; 

—  in  a  children's  festival  (June,  1914),  ii,  228, 
n.  3,  —  in  the  committee's  wands  (1801),  ii,  103; 

—  considered  trivial  by  a  Frenchman,  ii,  300;  — 
at  coronations,  i,   1541.;  —  in   the  Duquesne 
masque,  ii,  287 ;  —  brought  inside  the  Guildhall 
in  1801,  ii,  103;  —  and  history  (Brussels,  1853), 
i,  256;  —  and  history  in  masque  and  pageant, 

11,  288;  —  and  history  in  Vermont  pageants,  ii, 
270;  —  in  the  Holh's  Hall  Pageant,  ii,  273;  — 
suggested  in  the  Hudson-Fulton  festivities,  ii, 
242,  and  n.  3;  —  in  the  Hudson-Fulton  Pageant, 
ii,  244,  n.  i;  —  in  the  Keene  Pageant,  ii,  271;  — 
killed  by  characterization  (Cheltenham,  1908), 
ii,  217;  —  in  the  Lawrence  Pageant,  ii,  269;  — 
in  the  Liverpool  Pageant  of  1007,  ii,  163;  — 
of  manufactures,  agriculture  and  the  arts  sug 
gested  (1850),  ii,  114;  —  in  mayoralty  shows, 
ii,    71  f.;  —  in    the    "Military    Tournament" 
(1910),  ii,  i88f.;  —  and  "mythical  founders," 
i,  81;  —  mythology,  and  history  (1626),  ii,  78, 
n.   4;  —  in   the   Norristown   street-pageant   of 
1912,  ii,  250;  —  in  the  "Pageant  of  the  Months," 
ii,  191;  —  in  the  Peterborough  Pageant,  ii,  265; 

—  in  the  Plymouth  "festival"  of  1896,  ii,  260;  — 
and  poetry  in  the  St.  Louis  Masque,  ii,  273;  — 
as  propaganda,  ii,  254  f.;  —  revived  (1850),  ii, 
115;  —  in  the  "ritual"  of  citizenship,  ii,  290;  — 
in  the   Sherborne   Pageant,   ii,    211;  —  in  the 
modern  pageant,  ii,  212,  and  n.  2;  ii,  214  f.;  — 


424 


INDEX 


in  the  1605  Show,  ii,  28  f.;  —  of  the  1662  "tri 
umph"  explained,  i,  250;  —  in  a  street  pageant 
(Boston,  1912),  ii,  245;  —  the  susceptibility  of 
the  age  to,  ii,  296;  —  in  the  Veiled  Prophet  pro 
cession,  ii,  253,  notes;  —  in  a  Washington 
Masque,  ii,  285;  —  in  the  Yale  Pageant  (1916), 
ii,  274,  and  n.  i;  ii,  276. 

Synod  Hall,  Edinburgh,  masque  performed  at,  ii, 
226. 

Synope  (Paris,  I431),  i>  *&,  n.  4. 

"Syredelajoye,"i,  88. 

Syrians  in  the  Boston  procession  of  1912,  ii,  247;  — 
the,  win  prize  at  New  York  Pageant  (1918),  ii, 
251. 

Tabard  used  in  1848,  ii,  113. 

Tabards,  discontinuance  of,  requested  (1833),  ii, 
no. 

"Table  Round"  see  Round  Table. 

"Tableaux,"!,  xix;  i, xx;  i,  10;  i,  19;  i,  23;  i,  140; 
i,  141,  n.  i;  —  in  the  Boston  "festival"  of  1897, 
ii,  260 f.;  —  in  a  Cambridge  "pageant,"  ii,  284; 

—  groups  on  the  pageant-cars  not  far  removed 
from,  ii,  257,  and  n.  i;   ii,  258,  n.  i;  —  in  the 
Hudson-Fulton  Pageant,  ii,  243  f.;  —  at  Keene 
(1913),  ii,  271  f.;  —  at  Marietta  (1888),  ii,  258; — 

—  in  the  Plymouth  Pageant  of  1896,  ii,  259  f.;  — 
in  a  Washington  masque,  ii,  285;  —  in  the  Yale 
Pageant,  ii,  275. 

Tactus  (London,  1613),  ii,  34. 

Tailors  of  Dublin  give  Adam  and  Eve  (1528),  i, 

179. 

Tailors'  giant,  the,  at  Salisbury,  i,  56,  n.  3. 
Talamond,  Sir  (London,  1908),  ii,  135. 
Talbot,  Lord,  letter  from  Brackenbury  to,  i,  215, 

n.4. 

"Tale  of  a  Tub"  (Jonson),  i,  150,  n.  2. 
Talents  of  the  individual  brought  to  light  by  the 

modern  pageant,  ii,  205. 
Taliesin    hi    Monck's    pageant-play    of    "King 

Arthur,"  ii,  217,  n.3. 
"Tall-men"  in  1553,  ii,  13;  —in  1555,  ii,  15;  — 

(porters),  ii,  18. 
Tamburlaine  (London,   1623),  ii,   79;  —  (London, 

1676),  ii,  79,  n.  2;  —  (London,  1908),  ii,  79,  n.  2; 

»,  135- 

Tank,  prototype  of  the,  at  the  1914  "Tourna 
ment,"  ii,  190,  n.  2. 

Tanners'  Pageant  at  Coventry  (1565),  i,  204,  and 
n.  i. 

Tannhauser  (Diisseldorf,  1852),  ii,  147. 

Tapeinotes  (London,  1605),  ii,  29,  n.  2. 

Tarasque,  animals  like  the,  in  England,  i,  70,  n.  i. 

Tarascon,  "les  Jeux  de  la  Tarasque"  at,  ii,  156, 
n.  2. 


"Tar  Baby  Story,  the"  (St.  Louis,  1888),  ii,  253, 

n.5- 

Tatars,  knights  disguised  as  (1331),  i,  90. 
Tatham  "City  Poet,"  ii,  70,  n.  2. 


Tatham's  apologetic  preface  (1662),  ii,  48;  — 
description  of  his  1662  "triumph,"  i,  248  f.;  — 
"London's  Glory"  describes  the  welcome  to 
Charles  II  (1660),  i,  242;  — "London's  Tri 
umphs"  (1657),  ii,  47;  —  "Royal  Oak"  (1660) 
ii,  47  f.;  ii,  48,  n.  i;  —  Show  for  1663,  i,  77. 

Tattersall,  sheriff  (1422),  ii,  5. 

Taubman,  "  City  Poet,"  ii,  70,  n.  2;  —  rejoices  over 
the  Revolution  (1689),  ii,  64  f. 

Taubman's  first  show  (1685),  ii,  62;  —  "London's 
Great  Jubilee"  (1689),  (reprinted,  1761),  ii,  94, 
n.  i;  —  remarks  on  the  1688  Show,  ii,  64,  and 
n.4. 

Taunton,  England,  scene  at  (Taunton,  1911),  ii, 
269;  —  Pageant,  the,  of  1911,  ii,  266,  n.  2;  ii, 
269. 

Tavern  Club,  the,  members  of,  give  a  scene  in  the 
Boston  "festival"  (1897),  ii,  260,  n.  4. 

Tax  on  tourneys,  i,  88. 

Taylor,  John,  master  of  Westminster  School,  pro 
vides  children  for  the  1561  Show,  ii,  18;  —  for 
the  1566  Show,  ii,  20;  —  John,  describes  wel 
come  of  Charles  (1623),  i,  234;  —  not  officially 
appointed  "City  Poet,"  ii,  70,  n.  2;  —  John,  and 
Norman  underbid  in  1635,  ii,  42,  and  n.  5;  — 
Sir  Herbert,  transmits  orders  refusing  troops 
(1820),  ii,  107;  —  William,  requested  to  sing 
(1809),  ii,  104. 

Taylor's  Show  for  1634  ["Triumphs  of  Fame  and 
Honor"]  ii,  42. 

"Taziya"  a  "pageant,"  i,  17. 

Teachers'  Mutual  Benefit  Association,  the,  of 
Boston,  ii,  260. 

Technique,  the  effect  of  pageant-writing  on  dra 
matic,  ii,  196,  n.  i,  ii,  209;  —  of  the  "festival," 
the,  ii,  283  f.;  —  the,  of  Jordan's  "interludes," 
ii,  57;  —  the,  of  masque  and  pageant,  difference 
in,  ii,  288;  —  of  the  masque,  i,  85;  —  the,  of  the 
modern  pageant,  ii,  212;  ii,  294;  —  of  older,  and 
"spirit"  of  modern  pageantry  combined  at 
Norristown  in  1912,  ii,  250;  —  of  the  older  com 
bined  with  the  "spirit"  of  the  Parkerian  pag 
eant,  ii,  244,  and  n.  3;  —  the,  of  older  pageantry 
prevents  individualization  of  types,  ii,  76;  — 
of  pageantry,  i,  xvii. 

Tel-el-Kebir,  veterans  of  (London,  1897),  ii,  188. 

Telegraph,  the  (Mount  Holyoke,  1912),  ii,  286. 

Tell,  play  of,  at  Altdorf,  ii,  197;  —  William  (New 
York,  1909),  ii,  244,  n.  i. 

"Tempe,  or  the  Field  of  Happiness"  (1629),  ii,  40. 

Temperance  (Coventry,  1456),  i,  149;  —  treads  on 
Epicurus  (Edinburgh,  1503),  i,  169;  —  (London, 
1501),  i,  168;  —  (London,  1522),  i,  178;  —  mix 
ing  water  and  wine  (London,  1661),  i,  246;  — 
(London,  1671),  ii,  51;  —  (London,  1700),  ii, 
80,  n.  7;  —  in  masque  at  Norwich,  (1578),!,  211; 
—  in  a  funeral  pageant  at  Rome,  i,  17,  n.  6. 

Templar,  a,  with  St.  George  (Coventry,  1862),  ii, 
170. 


INDEX 


425 


Temperley,  H.  V.  W.,  on  Dorset  Pack  Monday 
Fair,  ii,  156. 

Temple  Bar,  i,  131;  i,  137;  i,  184;  i,  187;  i,  188; 
i,  189;  i,  194;  i,  202;  i,  214;  i,  223;  i,  225;  i, 
228,  and  n.  2;  i,  241,  n.  3;  i,  242;  i,  246;  ii, 
95;  ii,  no;  ii,  172,  n.  2;  ii,  175,  and  n.  3. 

Temple,  Earl,  at  the  1761  Show,  ii,  95. 

Temple  Lane  (London),  ii,  96. 

Temple  (London,  1501),  i,  167;  —  of  Concord 
(London,  1661),  i,  245;  (1814),  ii,  162;  —  of 
Fame,  on  a  banner  (St.  Louis,  1847),  ii,  238;  — 
of  Janus  (1604),  i,  225,  and  n.  4;  —  of  Pallas 
(1692),  ii,  73;  —  of  Vestal  Virgins,  in  a  tilt  (1590) 
i,  215;  —  of  Science,  on  a  banner  (St.  Louis, 
1847),  ii,  238;  —  of  Time  (London,  1677),  ii,  74. 

Templemars,  at  Lille,  i,  88. 

Tendencies,  pageantic,  in  England,  ch.  viii,  §  8 
(ii,  228  f.). 

Tenney,  Lady  (Peterborough,  1910),  ii,  264;  — 
Sir  William  (Peterborough,  1910),  ii,  264. 

Tennyson,  i,  xv;  i,  xvi. 

Tercentenary  of  the  Charterhouse  celebrated  by 
a  masque,  ii,  227;  —  of  the  Pilgrims,  celebration 
of  the,  planned,  ii,  276  f. 

Terminalia,  i,  14. 

Terminus,  worship  of,  i,  14. 

Termonde,  giants  at,  i,  55,  n.  2. 

Terror  (Providence,  1919),  ii,  289. 

Textile  Trades,  the,  exhibits  of,  (Preston,  1902),  ii, 
165,  n.  2. 

Thalia  (London,  1591),  ii,  26. 

Thaleia  (London,  1533),  i,  183. 

Thamaris  (Paris,  1431),  i,  138,  n.  4. 

Thames  Street,  (London),  i,  37;  —  Upper  (Lon 
don),  ii,  138. 

Thames  (Chelsea,  1908),  ii,  215;  —  (Cheltenham, 
1908),  ii,  216  f.;  —  in  the  Gloucestershire  Pag 
eant  (1908),  ii,  75,  n.  7;  — (London,  1585),  ii, 
24;  — (London,  1585,  1605,  1694,  1701),  ii,  75 
and  n.  8;  —  (London,  1604),  i,  224;  i,  225,  n.  5; 
—  (London,  1605),  ii,  29;  —  (London,  1616),  i, 
233;  i,  234;  — (London,  1661),  i,  245;  — (Lon 
don,  1662),  i,  249;  —  (London,  1783),  ii,  100. 

Thamesis  in  a  Grays  Inn  masque  (1594),  i,  218. 

Thanksgiving  Day  mumming  at  Brooklyn,  ii,  158. 

"Thanksgiving,  an  Early"  (Boston,  1910),  ii,  266. 

Tharbis  (Bruges,  1468),  i,  152. 

Theatre,  the,  and  the  modern  pageant,  ii,  209  f.;  — 
Royal,  Covent  Garden,  pantomime  at,  ii,  97  f. 

Thenca  (Paris,  1431),  i,  138,  n.  4. 

Theology  (Boston,  1908),  ii,  282,  n.  i;  ii,  283. 

Theomanticus  (London,  1783),  ii,  98. 

Thetford,  Pageant  of  (1911),  ii,  270  f.. 

Thetford  (Thetford,  1911),  ii,  270. 

Thetis  (Antwerp,  1803),  i,  254;  —  (Edinburgh, 
1594),  i,  218;  —  (London,  1662),  i,  250;  — 
(London,  1685),  ii,  63;  —  (London,  1692),  ii,  73. 

Thirsk,  a  "pageant-play"  at,  (1907)  ii,  230,  and 
n.  i. 


Thistle,  gigantic  model  of  a  (Edinburgh,  1832), 

ii,  166. 
Thomas  Hickathrift,  a  hero  with  gigantic  strength, 

i,  53,  n.  i. 
Thomson,  Henry,  provides  for  the  permanence  of 

Scarva  Day  celebration,  ii,  186. 
Thor,  against  the  giants  of  Jotunheim,  i,  51,  n.  3  ;  — 

contest  of,  with  Balder,  i,  5. 
Thornley,  R.,  paid  for  painting  the  Chester  ele 

phant  (1633),  i,  45,  n.  5. 
Three  Cranes  (Wharf),  ii,  43;  ii,  45;  ii,  60;  ii,  68; 

ii,  90;  ii,  92. 
"Three-gated  arches"   erected  for  Elizabeth,  i, 

200;  i,    201;  —  (Norwich,   1578),  i,   211.   [See 

arch.] 
"Three  Kings  of  Cologne,"  "King  game"  applied 

to  pageant  of,  i,  24,  n.  i. 
Three  Estates  represented  in  a  pageant  (London, 

1559),  i,  202;  —  Kings,  the  (Lyons,  1627),  i,  77, 

n.  i;  —  (Paris,  1431),  i,  140. 
"Throne  of  Virtue"  (1612),  ii,  73;  ii,  77;  —  (Lon 

don,  1622),  ii,  77. 
Thru[m]pton,  Mr.,  Barkers'  pageant  before  door 

of  (1498),  i,  164- 

Tiber  (London,  1694,  1701),  ii,  75. 
Tichburn,  Sir  Robert,  Mayor  of  London  (1656), 

ii,  45,  and  n.  6. 
Tide  (Chelsea,  1908),  ii,  215. 
Tiercelin,  L.,  author  of  an  episode  in  the  Dover 

Pageant,  ii,  205. 
Tigers  (London,  1656),  ii,  46. 
"Tileston,  Master,  and  his  school"  (Boston,  1897), 

ii,  261,  n.  3. 
Tilting  followed  by  water-fight  (1610),  i,  232;  — 

at  Ripon  (1886),  ii,  161. 
Tilts  between  disguised  knights  (1594),  i,  218,  and 

n.  7. 
Time    (Boston,     1910),    ii,    266;  —  (Edinburgh, 

1908),  ii,  223;  —  (London,  1559),  i,  201;  i,  202; 

—  (London,  1591),  ii,  26;  —  (London,  1604),  i, 

224;  —  (London,  i6n),ii,  31;  —  (London,  1612) 

ii,    32,  —  (London,  1613),    ii,    34;  —  (London, 

1660),  i,  242;  ii,  77;  —  (London,  1677),  ii,  74; 

ii,   191;  —  (London,   1679),  ii,  74;    ii,   191;  — 

(Norwich,   1556),  ii,   16;  —  (Oxford,   1907),  ii, 

2235  —  (Taunton,  1911),  ii,  269. 
Times,  contrast  of  old  and  new,  hi  1896,  ii,  128. 
Tin  Platers,  the,  exhibit  of  (Preston,  1902),  ii,  165, 

n.  2. 

"Tin  Arch"  (Swansea,  1881),  i,  257. 
Tiptoft,  John,  his  ordinances  copied  in  1912,  ii, 

185- 

Titans,  i,  51,  n.  3. 
"Toilers  of  the  Sea"  (Little  Compton,  1914),  ii, 


Tolbooth  (Edinburgh),  i,  212;  i,  236. 
TollseU  (Dublin),  i,  251. 
"Tomb"  of  Wai-worth  (1616),  ii,  80. 
Tombland  (Norwich),  pageant  at  (1611),  ii,  30. 


426 


INDEX 


Torbay,  the  landing  of  William  at,  pictured  at 

Belfast  (1914),  U,  181. 
Torchbearers   (Ripon,   1886),  ii,   159;  —  bearers, 

prototypes  of  "wild-men,"  i,  72;  i,  73. 
Torches  illumine  an  evening  procession  (Boston, 

1880),  ii,  239. 

Torchlight,  citizens  receive  Elizabeth  by,  i,  219. 
Toreador,  a  (Lichfield,  1893),  ii,  150. 
Toronto  (York,  1909),  ii,  215,  n.  2. 
Tortoise  with  symbolical  meaning  (1638),  ii,  72. 
Tostig  (London,  1907),  ii,  133. 
Totems,  Indian,  shown  on  floats  (New  York,  1909), 

ii,  243. 
Touraine,  Viscount  of,  dances  at  a  masque  with 

pageantic  background  (1528),!,  117. 
Tournament,  i,  xvii,  xix;  —  and  allegory  united 

(London,  1581),  ii,  273,  n.  3;  —  (St.  Louis,  1914), 

ii,  273,  and  n.  3;  —  at  Bologne  (1628),  i,  67,  n.  i; 

—  at  Bury  (1348),  i,  94;  —  caricatures  of,  in 
Italy,  i,  99,  n.  i;  —  characters  in  a,  in  the  1889 
Show,  ii,  124;  —  in  Cheap  (1331),  i,  90;  —  a,  at 
Compiegne  in  honor  of  Jeanne  d'Arc,  ii,  187,  and 
n.  i;  —  at  Dartford  (1330),  i,  oo;  —  at  Dun- 
stable  (1344),  i,  91 ;  —  at  Eltham  (1342),  i,  91 ',  — 
at  Eltham  (1347-48),  i,  93,  n.  4;  —  and  early 
masque,  ch.  ii,  i,  85  ff.;  —  in  England,  temp. 
Richard  I,  i,  88  ff.;  —  figurds  from  morality- 
play  in  (1596),  i,  219;  —  at  Falkirk  (1302),  i,  90; 

—  at  Kenilworth  (1280),  i,  90;  —  knights  of  the 
(Ripon,  1886),  ii,  161,  ii,  185;  —  at  Lille  (1436), 
i,  88;  —  at  London  (1360),  i,  95;  —  at  London 
(1494),  i,  96;  —  at  London,  (1536)  i,  98;  —  at 
Madrid  (1623),  i,  99;  —  and  metrical  romance  — 
cross-influences,    i,    196  f.;  —  at    Northampton 
(1342),  i,  91;  —  origin  and  growth  of,  ch.  ii,  §  i, 
(i,  86  ff.); — pageantic,  at  Rouen  (1558),  i,  98; — 
at  Paris  (1498),  i,  96;  —  at  Preston  (1882),  ii, 
165,  n.  2;  —  in  romances,  i,  89;  —  a,  at  St.  Louis 
(1914),  ii,  273,  n.  3;  —  at  Smithfield  (1334),  i, 
91;  —  in  Smithfield  (1375),  i>  95J —  at  Smith- 
field  (1442),  i,  96;  —  at  Stepney  (1305),  i,  90;  — 
at  Stepney  (1309),  i,  75;  —  at  Stepney  (1330), 
i,  127;  —  at  Stepney  (1331),  i,  90;  —  at  Stutt 
gart  (1609),  i,  99;  —  at  Windsor  (1344),  i,  92;  — 
at  Windsor  (1348),  i,  93;  i,  94;  —  folk-play  and 
dance,  i,  105;  —  the  Royal  Naval  and  Military, 
at  London,  ii,  187  f . 

Tournaments  in  America,  ii,  286,  and  n.  4;  —  at 
Nuremberg  (1197),  i,  87;  — (1441),  i,  88;- 
revivals  of,  in  modern  days,  ch.  vii,  §  5  (ii,  182  f.) ; 

—  disguising  in,  i,  85;  —  disguised  participants 
in,  i,  94  ff.;  —  forbidden  (1179),  i,  87;  —  loca 
tions  of,  appointed  by  Richard  I,  i,  89;  —  origin 
of,  in  France  and  Germany,  i,  87. 

Tourneamentum,  i,  86. 

Tourney,  pageant,  debat,  and  masque  (1528),  i, 

n6f. 
Tourneys,  Bacon  on  pageantic  features  of,  i,  115; 

—  forbidden,  (1341),  i,  91. 


"Tournoi  d'Anchin"  (1096),  i,  88. 

Tower,  armor  from  the,  i,  48;  —  armor  from  the 
(1822),  ii,  108;  —  Constable  of  the,  can  receive 
mayor's  oath  (when  the  Exchequer  is  not  at 
London),  ii,  4;  —  Gate,  i,  160;  ii,  26;  —  Hill 
(London),  i,  227;  —  Lieutenant  of  the,  receives 
mayor's  oath  (1665),  ii,  49;  —  of  London,  i,  161 ; 
i,  181;  i,  185,  n.  6;  i,  188;  i,  191,  and  n.  i;  i,  199; 
i,  244;  i,  253;  —  procession  takes  boats  at  the 
(X833),  ii,  no;  —  Stairs  (London),  i,  63;  — 
Wharf  (London),  i,  181;  i,  227. 

"Tower"  —  see  also  "castle." 

"Tower,"  or  castle  (London,  1432),  i,  144;  —  with 
King  and  Queen  (Coventry,  1474),  i,  154;  —  or 
"temple"  (London,  1700),  ii,  69;  —  of  Learning 
with  the  Liberal  Sciences,  i,  145,  n.  2;  (illus.  opp. 
i,  144);  —  with  the  Four  Virtues  (Naples,  1443), 
i,  147,  n.  2; — of  Virtue,  (1621),  ii,  79;  —  of 
Welcome  (Quebec,  1908),  ii,  240,  n.  5. 

"Towers"  on  a  stage  at  the  Fleet  Street  Conduit 
(1559),  i,  202. 

Towns  represented  by  "knights"  (St.  Johnsbury, 
1912),  ii,  270,  n.  5. 

"Town  Meeting,  a  [1633],"  (Boston,  1897),  ii, 
261;  —  and  Gown  Riots  (New  Haven,  1916), 
ii,  274,  and  n.  i. 

Town  Crier  (Boston,  1910),  ii,  266,  n.  2;  ii,  267;  — 
(Boston,  1912),  ii,  245. 

"Towrells"  (Edinburgh,  1503),  i,  169. 

Tracy,  G.  L.,  producer  of  "From  Kingdom  to 
Colony,"  ii,  277,  n.  2. 

de  Tracy,  Marquis,  receives  Laval  (Quebec,  1908), 
ii,  263. 

Trade  combined  with  'civic  and  military  elements 
(Boston,  1880),  ii,  239;  —  element  in  parades  of 
"horribles,"  ii,  252;  —  exhibits  in  the  "Bower," 
ii,  149,  n.  4;  —  figure,  a  Labor  "knight,"  a,  ii, 
155;  —  figures  at  Adrianople  (1717),  ii,  86;  — 
figures  in  the  Coventry  procession,  ii,  167  f.;  — 
figures  with  saints,  ii,  83 ; — figures  with  "drolls," 
ii,  66;  ii,  84,  n.  6;  —  floats  in  the  1914  Lichfield 
"Bower,"  ii,  152;  —  guilds,  i,  xvii;  —  origin  of 
Revere  carnival  (1912),  ii,  254;  —  pageant 
(London,  1606),  i,  227,  and  n.  3;  —  pageant  at 
Sandwich,  1573,  i,  206; — pageant  for  Skinners 
(1628),  ii,  39;  —  pageant  for  Skinners  (1656),  ii, 
46; —  (1657),  ii,  47;  —  pageant  for  Skinners 
(1671),  ii,  50 f.;  — pageant  of  1678,  ii,  71;  — 
pageants  developed  by  the  court,  i,  114;  i,  121; 
—  pageants  of  1672  and  1673,  ii,  53;  —  pageants 
of  the  Drapers  (1679),  ii,  58;  —  pageants  in 
Milton  celebration,  ii,  154;  —  pageants  at  Pres 
ton  (1902),  ii,  165,  n.  2; — pageants  at  Ripon 
(1886),  ii,  i$9f.;  —  pageants  in  the  St.  Louis 
procession  of  1847,  ii,  238  f.;  —  pageants  in  the 
(London)  1891  Show,  ii,  126;  —  in  the  1892 
Show,  ii,  126  f.;  —  in  the  1895  Show,  ii,  127;  — 
in  the  1902  Show,  ii,  129. 


INDEX 


427 


Trade-pageantry,  ch.  vii,  §  3  (ii,  164  f .) ;  —  (Bos 
ton,  1912),  ii,  247  f.;  —  in  civic  shows  (1611),  ii, 
31;  —  combined  with  music  (1685),  ii,  63;  — 
at  Dublin,  i,  23,  n.  3;  i,  36;  —  (London,  1604), 
i,  224;  —  (London,  1660),  i,  242;  —  (London, 
1661),  i,  244;  —  at  Norwich,  i,  35;  —  at  Nor 
wich  (1578),  i,  2 10  f.;  — at  Preston,  i,  34;  —  in 
"royal-entry"  (York,  1486),  i,  158;  —  in  "royal- 
entry"  (London,  1522),  i,  176,  and  n.  2;  —  in 
"royal-entries,"  see  also  "royal-entry";  —  at 
Shrewsbury,  i,  33;  —  (Swansea,  1881),  i,  257. 

Trade-procession  at  Boston  (1788),  ii,  236;  —  at 
Philadelphia  (1882),  ii,  240. 

Trade-significance  of  folk-animals,  i,  196;  —  of 
the  "Golden  Fleece,"  i,  196;  —  of  "man  in 
armor,"  i,  48;  —  of  pageantic  elephant  and  castle 
i,  67,  n.  i. 

Trade  Societies  march  at  Chester  (Pennsylvania), 
ii,  239. 

Trade-symbolism  combined  with  miracle-play 
material,  i,  195;  —  combined  with  miracle-play 
pageant  on  a  civic  occasion  (Norwich,  1563),  ii, 
19;  —  and  mythology  united,  ii,  7 if.;  —  in 
1684,  ii,  62;  —  drawn  from  folk-animals,  i,  64;  — 
in  the  1602  Show,  ii,  27. 

Trade  symbolized  by  horsemen,  ii,  124;  —  and 
chivalry  united,  i,  48,  and  n.  i ;  —  and  history 
combined  (1885),  ii,  123;  —  (1889),  ii,  124;  — 
(1901),  ii,  128;  —  (Boston,  1912),  ii,  246,  and 
n.  4;  ii,  247; — (Norristown,  1912),  ii,  249; — 
and  history  remarks  on  the  combination  of,  ii, 
130;  —  and  history  (Ripon,  1886),  ii,  161;  — 
and  history  in  the  1902  Show,  ii,  129;  —  and 
miracle-play  combined  (1461),  i,  151;  —  and 
mythology  (1890),  ii,  125. 

Trader  and  Trapper  ii,  131;  ii,  153. 

Trades  of  mayors'  companies  indicated  by  "  drolls," 
ii,  66. 

Trades'  procession  (Lichfield,  1893),  ii,  151;  — 
(Lichfield,  1911),  ii,  152;  —  in  honor  of  Wash 
ington  (Boston,  1789),  ii,  177. 

Trades  (Liverpool,  1907),  ii,  163. 

Tradition  combined  with  history  (Boston,  1880), 

ii,  239- 

Traditions  in  civic  shows  ,  ii,  66. 

Traffic  regulations  for  the  Lord  Mayor's  Day 
(1740),  ii,  92;  —  rules  to  prevent  blocking  of 
streets  (1702),  ii,  69,  n.  3. 

Traffic  (London,  1622),  ii,  75. 

"Trained  Bands"  line  the  streets  (1727),  ii,  88, 
n.6. 

Transparencies,  allegorical  (London,  1814),  ii, 
162;  —  used  in  1832  and  1833,  ii,  no;  —  and 
illuminations  (Edinburgh,  1822),  i,  256. 

Transparency  at  Guildhall  (1801),  ii,  102  f.;  — 
provided  by  Mr.  Patrick  (1825),  ii,  109;  —  pro 
vided  in  1839,  ii,  in,  n.  4. 

Trapper  and  Trader  (1905),  ii,  131;  — Canadian 
(Knutsford,  1913),  ii,  153. 


"Trappers  and  Traders"  (Norristown,  1912),  ii, 

249. 

Traveller  (London,  1657),  ii,  47. 
Treason  (London,  1618),  ii,  38. 
Treasury  Building,  masque  on  the  steps  of  the,  ii, 

284  f. 
Tree,  Sir  Herbert,  his  production  of  "Henry  VIII," 

ii,  209;  ii,229. 
Tree  "subtlety"  of  a,  i,  83. 
Trent  (London,  1628),  ii,  39. 
Trevelyan,  M.,  on  Mari  Llwyd,  i,  17. 
"Trial,  Condemnation,  and  Crucifixion  of  Christ," 

Smiths'  Pageant  (Coventry),  i,  204,  n.  i. 
Trig  Stairs  (London),  i,  48. 
"Trinity,  the,"  at  Antwerp,  i,  255. 
Trinity,  Church  of  the,  at  Paris,  i,  163;  i,  171. 
Trinity,  the  (London,  1432),  i,  146. 
Trinity  Sunday,  "triumph"  at  Norwich  on  (1545), 

ii,  12. 
Trino  van  turn,  old  name  of  London,  i,  58,  n.  2;  i, 

So- 
"Trionfi,"  secular  and  religious,  i,  14,  n.  i;  —  (at 

Alexandria),  i,  17,  n.  6. 
Triptolemus  (St.  Louis,  1878),  ii,  253,  n.  2. 
Triton  (Edinburgh,  1594),  i,  219;  —  (Kenilworth, 

1575),  i,  209;  —  with  whale  (Antwerp,  1803),  i, 

254- 

Tritons  (Chester,  1910),  ii,  215;  —  (London,  1610), 
i,  231;  —  (London,  1612),  ii,  32;  —  (London, 
1616),  i,  233 ;  i,  234;  —  (London,  1657),  ii,  47;  — 
(London,  1661),  ii,  48;  —  (London,  1662),  i, 
250;  —  (London,  1685),  ii,  63. 

"Triumph,"  i,  xix;  —  at  Canterbury  (disguising), 
i,  174;  —  in  a  masque,  at  Edinburgh  (1908),  ii, 
223. 

"Triumph  of  Peace"  (1633-34),  i,  117  f.;  —  of 
"Time,"  the  (London,  1679),  u,  iQ1- 

"Triumph"  of  1662,  influence  of  Lord  Mayor's 
Show  on,  i,  250. 

Triumph  (London,  1685),  ii,  63. 

Triumphal  arches  (1881),  ii,  121;  —  in  1882,  ii, 
121;  —  in  Belgium  (1843),  i,  256;  — at  Belfast 
(1914),  ii,  180;  — at  Leicester  (1839,  1843),  i, 
256;  —  at  London,  (1863),  i,  257,  n.  i;  —  at 
Preston  (1882),  ii,  165,  n.  2;  — for  returning 
troops  (New  York,  1919),  ii,  2 56  f.;  — (Ripon, 
1886),  ii,  159;  ii,  160;  —  at  Scotland  (1842),  i, 
256;  —  at  Swansea  (1881),  i,  257.  See  also  arch. 

Triumphal  chariots  in  the  procession  preceding 
Shirley's  masque  (1634),  i,  117  f. 

Triumphant  Mount  (1613),  ii,  34  f. 

Troia  Nova,  old  name  of  London,  i,  59. 

Troia  Nova  personified  (London,  1605),  i,  82,  n.  2. 

"Trois  Mores"  at  Lyons  (1627),  i,  77,  n.  i. 

Trois  Rois  at  Lyons  (1627),  i,  77,  n.  i. 

Trojan,  a  (London,  1783),  ii,  98. 

Trojans  v.  Greeks  (Winchester,  1908),  ii,  225  f.,  — 
with  Ebrauc  (York,  1909),  ii,  218,  n.  I. 

Tron,  the  (Edinburgh),  i,  236. 


428 


INDEX 


Trooper  of  the  Northwest  (Knutsford,  1913),  ii, 

153- 

Troops  applied  for  (1849),  ii,  113,  —  and  "men  in 
armor"  (1821),  ii,  106,  —  (1822),  ii,  107,  —  in 
the  1915  Show,  ii,  140  f.;  —  take  part  in  the 
1914  Show,  ii,  139;  —  in  a  street-pageant  (Bos 
ton,  1912),  ii,  245. 

Troubadours  represent  Minstrelsy  (Boston,  1908), 
ii,  283. 

Troya  Nova  (London,  1605),  ii,  29. 

"Troy  game,"  i,  86 

Troy-Novant,  old  name  of  London,  i,  58,  n.  2;  i, 
78,  n.  i. 

Trumpeters  who  sounded  the  charge  at  Balaklava 
(1890),  ii,  125. 

Truro,  School  of  Mining  at,  represented  in  the 
1906  Show,  ii,  132. 

Truth  (Boston,  1908),  ii,  282;  — (Lichfield,  1909), 
ii,  151;  — (London,  1432),  i,  146;  — (i547)>  i, 
186;  i,  187;  — (1554),  i,  194;  —  daughter  of 
Time  (London,  1559),  i>  202;  — (1591),  ii,  26, 
and  n.  i;  —  (1604),  i,  224;  —  (1613),  i,  in;  ii, 
34;  ii,  35;  — (1660),  i,  242;  ii,  77;  — (1661),  i, 
245;  i,  246;  —  (1662),  i,  248;  —  (1685),  ii,  63;  — 
(Paris,  1513),  i,  172;  — (Providence,  1919),  ii, 
289. 

Truth's  Angel  (London,  1613),  ii,  33. 

T'serclaes,  giants  at,  i,  55,  n.  2. 

Tubal  Cain,  ii,  72. 

Tully  (London,  1432),  i,  145. 

Tulse,  Sir  Henry,  Mayor  of  London  (1683),  ii,  61. 

Tumbler  at  Kenilworth  (1575),!,  208;  —  at  St. 
Paul's  (London,  1547),  i,  186  f. 

Tumblers  (London,  1662),  i,  249;  —  in  welcome  to 
Charles  II  (1660),  i,  242. 

Tumbling  in  the  civic  shows,  ii,  84  f . 

Tumult  grovelling  at  the  fleet  of  Quiet  (London, 
1604),  i,  225. 

Tun  in  Cornhill,  the,  i,  148. 

Turk,  a  (London,    1617),    ii,    76;  —  (Knutsford, 

1913),  ii,  153- 
Turks  at  Madrid,  (1623),  i,  99;  —  in  mock-fight 

(1443),  i,  147,  n.  2;  —  at  Stuttgart,  (1609)  i,  99; 

—  in  a  tilt  (1594),  i,  218,  n.  7. 
Turkey  (London,  1853),  ii,  116,  n.  3. 
Turkish  equivalents  of  "wild-men"  or  "drolls" 

(Adrianople,    1717),   ii,  87;  —  prisoner  in   the 

hands  of  uniformed  Italians  (Boston,  1912),  ii, 

247- 

Turkish  Champion  in  "folk-play,"  i,  7,  n.  i;  — 
Pirate  (London,  1610),  i,  232. 

Turner,  Captain,  in  a  Plymouth  celebration  (1801), 
ii,  236;  —  Sir  William,  Mayor  of  London  (1668), 
ii,5o. 

Turners  v.  Stationers  (1678),  ii,  55  f. 

Twentieth  Century  Club,  interest  of  the,  in  pag 
eants,  ii,  281,  n.  2. 

Tykehill,  place  for  tournament  near,  i,  89. 

Tyler,  Wat,  head  of  (1616),  ii,  80;  —  (1700),  ii,  68; 


ii,  80;  —  the  slain,  with  Walworth  (London, 
1 884),  ii,  123. 

Tymbesteres  (Hereford,  1914),  ii,  224,  n.  7. 

Type,  the,  and  the  individual,  ii,  212  f. 

Type-figures  in  the  Boston  Normal  School  Pageant, 
ii,  283;  —  in  the  Peterborough  Pageant,  ii, 
264  f.;  —  in  the  "ritual"  of  citizenship,  ii,  290. 

Types  and  individuals  in  the  "interludes,"  ii,  57 ;  — 
between  allegory  and  the  individual,  ii,  76;  — 
tending  toward  symbolism  in  the  Jordanian 
"interludes,"  ii,  76;  — which  are  almost  ab 
stractions,  ii,  75,  n.  8. 

Typical  and  historical  figures  in  "The  Masque  of 
Learning,"  ii,, 227. 

Tytero  (London,  1684),  ii,  62. 

Udall,  Nicholas,  i,  81;  i,  180;  i,  183,  and  n.  5,  and 
n.6. 

Ukranians  in  the  New  York  Pageant  of  1918,  ii, 
252. 

Ulster  Covenant,  the  signing  of  the,  pictured  at 
Belfast  (1914),  ii,  181, 

Ulysses  (London,  1631),  ii,  77,  n.  2;  — (Win 
chester,  1908),  ii,  225. 

Unanimity  (London,  1604),  i,  224. 

"Unborn  soul"  of  pageantry  in  the  revels,  ii,  159. 

Uncle  Remus  (St.  Louis,  1888),  ii,  253,  n.  5;  — 
Sam  (Boston,  1912),  ii,  247;  —  (Little  Compton, 
1914),  ii,  251. 

Undramatic  break  in  characterization,  i,  183,  and 
notes  5  and  6. 

Underbill,  Edward,  account  of  1553  "entry"  by, 
i,  188. 

Unhappiness  at  the  feet  of  Felicity  (London,  1604), 
i,  225. 

Unicorn  (Chester,  1910),  ii,  224;  —  (London, 
1662),  i,  249;  —  (Reggio,  1453),  i,  148,  n.  4;  — 
St.  Andrew  on  a  (1609),  ii,  30. 

Unicorns,  i,  44,  n.  8;  i,  45,  n.  5;  i,  46;  i,  64;  — 
ridden  by  Moors  (1611),  ii,  31. 

Unified  scheme  in  the  1904  Show,  ii,  130. 

Uniforms  of  the  past  (Boston,  1912),  ii,  246;  —  of 
Garibaldi's  soldiers  worn  by  Italians  (Boston, 
1912),  ii,  247;  —  of  the  past  (London,  1896),  ii, 
128;  —  of  the  past  (London,  1897),  ii,  188;  —  of 
the  past  (London,  1902),  ii,  129;  —  of  the  past 
(London,  1911),  ii,  136;  —  of  the  present  in 
Brooklyn  mumming,  ii,  158. 

Union  of  civic  and  national  history  in  1783  pan 
tomime,  ii,  100. 

Union  (London,  1685),  ii,  63;  —  (Paris,  1498),  i, 
164;  —  [Confederation],  (Paris,  1513),  i,  171. 

United  Germany,  States  of,  personified  (New  York, 
1909),  ii,  244,  n.  i. 

United  States,  effigy-burning  in  the  (1917),  i,  51, 
n.  2;  —  Hallowe'en  disguisings  in  the,  i,  10,  n.  5; 
—  flag  of,,  displayed  in  the  1881  Show,  ii,  121 ;  — 
mumming  of  children  hi  the,  ii,  158;  —  pag 
eantry  in  the,  ch.  ix  (ii,  235  ff.);  —  pageants  of, 


INDEX 


429 


compared  with  English  pageants,  ii,  232  f.  See 
also  America. 

Unity  of  design  in  the  1904  Show,  ii,  130!.;  —  of 
idea  in  modern  pageants,  ii,  210;  —  of  plan  lack 
ing  in  Little  Compton  parades,  ii,  250;  —  lacking 
in  carnival  processions,  ii,  295. 

Universities  personified  (Boston,  1908),  ii,  282. 

University  Faculties  greet  Louis  XII  (Paris,  1498), 
i,  164;  —  Hall,  Edinburgh,  founding  of,  celebrate 
ii,  226. 

University  doctor  in  furred  robes  (1628),  ii,  39. 

Unlawfulness  of  tournament  at  Eglinton  noted,  ii, 
183. 

Unnamed  giants,  i,  57,  n.  2;  —  giants  at  London, 
in  1415,  and  1432,  i,  58,  n.  i. 

Upland,  model  of  Penn's  house  at,  carried  in  pro 
cession  (Chester,  1882),  ii,  240. 

"Up  the  Heights,"  a  "play  with  a  purpose,"  ii, 
230. 

Urbino,  chariots  in  ballets  at  (1513),  i,  123,  n.  2. 

Urbs,  ii,  76. 

Ursulines  (Quebec,  1908),  ii,  263. 

Usher,  Arland,  Mayor  of  Dublin  (1528),  i,  179. 

Usurpation  painted,  flying  before  Charles  II  (Lon 
don,  1661),  i,  244. 

Vainglory  (London,  1559),  i,  201. 
Vain  Student,  a  (Oxford,  1907),  ii,  223. 
Valenciennes,  angels  at,  i,  94;  —  banner  of,  at  Lille, 

i,  75,  n.  4;  —  castle  at  (133°),  i,  94;  —  giant  of, 

i,  65,  n.  2;  —  pageantic  tourneys  at,  i,  94,  and 

n.  7;  —  symbolized,  i,  ,81. 
Valentine  (London,  1547),  i,  79;  i,  i86;i,  196. 
Valiaunt  desire  (1511),  i,  97;  i,  116. 
Valleys,  spirits  of  the  (St.  Johnsbury,  1912),  ii, 

270. 
Valor  (Edinburgh,  1908),  ii,  214;—  (Edinburgh, 

1908),  ii,  223. 
Vanasselt,  constructor  of  the  Antwerp  giant,  i, 

254- 

Varney,  Sir  Richard  (Lichfield,  1893),  ii,  150. 

Vauxhall,  i,  248;  i,  249. 

Veiled  Prophet,  the,  at  St.  Louis,  ii,  253  f.,  and 
notes. 

Venator  (Stuttgart,  a6o9),  i,  99. 

Veneration  (London,  1604),  i,  223. 

Venice,  Ambassador  of,  i,  181;  —  Ascension  Day 
at,  compared  with  1662  "triumph"  by  Evelyn, 
i,  247;  —  Corpus  Christi,  at  i,  22,  n.  6;  —  and 
London  compared  by  Prince  of  Anhalt  (1610), 
ii,  30;  —  merchants  of,  in  the  1432  "entry,"  i, 
143;  —  subtleties  at  (1517),  i,  83;  —  water- 
procession  at  (1491),  i,  14,  n.  i;  i,  161,  n.  6. 

Venus  (Avignon,  1600),  i,  220;  —  in  the  Dublin 
"Fringes,"  i,  23,  n.  3;  — (Diisseldorf,  1852),  ii, 
147;  —  [Venus],  (Edinburgh,  1503),  i,  169,  n.  i; 
—  (London,  1533),  i,  183;  — (London,  1635), 
ii,  42;  —  in  masque  at  Norwich  (1578),  i,  211. 

Venusberg,  the  (Dusseldorf,  1852),  ii,  147. 


Verbum  Dei  in  Henry's  hand  (1554),  i,  191  f.;  — 
painted  out,  i,  192;  —  in  Truth's  hand,  i,  194. 

"Vergier  de  France"  (Paris,  1513),  i,  172. 

Vermandois,  squire  of,  masque  at  the  wedding  of 
(i393),  i,  102,  n.  3;  i,  73,  n.  5. 

Vermont  (St.  Johnsbury,  1912),  ii,  270;  — (Thet- 
ford,  1911),  ii,  270. 

Vernacular,  the  (Boston,  1908),  ii,  282. 

Vernon,  Admiral,  birthday  of,  celebrated  with 
"illumuiations"  (1740),  ii,  178,  and  notes  3  and 
4;  —  Dorothy,  husband  of,  knighted  by  James  I, 
i,  222,  n.  i. 

Verses  dedicated  to  the  mayor  in  1732,  ii,  89,  n.  3. 

Vertbois,  rex  de,  i,  75. 

Vertumnus  (London,  1604),  i,  225,  n.  i. 

"  Vestal  Virgins,  Temple  of"  (in  a  tilt,  1590),  i,  215. 

Vestiaria  (London,  1684),  ii,  62. 

Veterans  of  Balaklava  (1910),  ii,  136;  —  of  British 
and  German  origin  in  a  Boston  procession,  ii, 
245;  —  of  the  Civil  War  give  scenes  in  the 
Boston  "festival"  of  1897,  ii,  261;  —  of  the 
Civil  War  in  the  Norristown  Pageant  of  1912, 
ii,  250;  —  of  the  Civil  War  in  the  Yale  Pageant, 
ii,  275;  —  of  the  Crimean  War  in  the  1890  Show, 
ii,  125;  —  of  the  Crimean  War  in  the  1906  Show, 
ii,  132;  —  in  the  London  Military  Tournament 
of  1897,  ii,  188;  —  of  Rorke's  Drift  asked  for 
(1879),  ii,  120;  —  the  sons  of,  take  part  in  the 
Norristown  pageant,  ii,  250;  —  in  a  street- 
pageant  (Boston,  1912),  ii,  245. 

Vevey,  "Winzerfest"  at,  ii,  147,  n.  4. 

"Vice,"  the,  akin  to  Chelt  in  the  Gloucestershire 
Pageant,  ii,  217. 

Vices,  trodden  on  by  Virtues  (London,  1559),  i, 
200  f . 

Victoria  pictured  at  Belfast  (1914),  ii,  181;  —  at 
Guildhall  (1837),  ii,  no;  —  and  Albert  at  Ant 
werp  (1843),  i,  256;  —  at  Brussels  (1843),  i,  256; 
—  and  Albert  in  Scotland  (1842),  i,  256;  —  at 
Leicester  (1843),  i>  256- 

Victoria,  Queen  (London,  1914),  ii,  228,  n.  2. 

Victorian  Era  antedates  Victoria,  ii,  168,  and  n.  3. 

"Victory,"  model  of  H.  M.  S.,  (1902),  ii,  129. 

"Victory  Arch,  the"  (New  York,  1919),  ii,  256;  ii, 
257;  —  Pageant,  a,  at  the  Rhode  Island  Nor 
mal  School,  ii,  288. 

Victory,  Statue  of  (1904),  ii,  130;  —  on  a  trans 
parency  (1814),  ii,  162. 

Victory  (London,  1623),  ii,  78;  —  (London,  1628), 
ii,  39;  —  (London,  1685),  ii,  63;  —  (Providence, 
1919),  ii,  289. 
Vidrick  Verlandson,  victorious  over  Langbane,  i, 

53- 

View  of  Lord  Mayor's  Show  voiced  by  Shirley  and 
Pepys,  ii,  35,  n.  4. 

Vigilance  (London,  1604),  i,  224;  —  (London, 
1618),  ii,  38;  —  (London,  1685),  ii,  63;  —  (Lon 
don,  1700),  ii,  80,  n.  7. 

Vigilius  (London,  1679),  ii,  83. 


430 


INDEX 


Viking  period,  the  (Ripon,  1886),  ii,  160. 
Vikings  (Edinburgh,  1908),  ii,   214;  — at  Rouen 

in  191 1,  ii,  164. 

Villagers  (Boston,  1897),  ii,  260,  n.  3. 
Villages  represented  by  "squires,"  (St.  Johnsbury, 

1912),  ii,  270,  n.  5. 
Vinitioria  (London,  1684),  ii,  62. 
Vintners  of  Dublin  present  Bacchus  (1528),  i,  179; 

—  Hall  (London),  i,  253,  n.  2;  —  represented  by 
Vinitioria  (1684),  ii,  62. 

Vintners'  Show  for  1702  includes  Bacchus,  ii,  73; 
ii,  153;  —  trade  linked  with  mythology  (1702),  ii, 

73- 
Vintners  with  Bacchus  (London,  1783),  ii,  99. 

Vintry,  Ward  of,  ii,  92. 

Virgin,  the,  i,  16;  i,  17;  i,  19,  n.  5;  i,  33;  i,  41;  i, 
78;  i,  80,  n.  2;  i,  83;  — (Edinburgh,  1503),  i, 
169;  —  (Hereford,  1486),  i,  159;  —  ("maiden 
queen"),  of  Mercers  described  by  Celia  Fiennes, 
ii,  67;  —  of  the  Mercers,  ii,  44  f.;  —  of  the 
Mercers,  in  the  1662  "triumph,"  at  London,  i, 
248;  —  (Paris,  1513),  i,  172;  — in  the  York 
"entry"  (1485),  i,  159.  and  n.  3. 

Virgin,  Purification  of  the,  celebrated  at  Beverley, 
i,  17;  i,  19,  n.  5. 

Virgins,  Wise  and  Foolish  (London,  1445),  i,  148. 

Viriat  (London,  1623),  ii,  79. 

Viridi  bosco,  rex  de,  i,  75,  n.  2. 

Virtue  in  Dekker's  1612  Show,  i,  in;  —  [Eliza 
beth  regarded  as]  (Elvetham,  1591),  i,  216;  — 
image  of,  before  image  of  Ptolemy  at  Alexandria, 
i,  17,  n.  6;  —  (London,  1612),  ii,  32;  ii,  73;  ii, 
77;  —  (London,  1623),  ii,  79;  —  Throne  of 
(1612),  ii,  32;  ii,  73;  ii,  77. 

Virtue's  Throne  (London,  1612),  ii,  32;  ii,  73; ii,  77. 

Virtues,  the,  —  see  also  Prudence,  Justice,  Forti 
tude,  and  Temperance;  —  the  Civic  (Lawrence, 
1911),  ii,  269;  —  the  (London,  1533),  i,  184,  n.  4; 

—  treading  contrary  vice  underfoot  (London, 
1559),  i,  200;  —  (Naples,  1443),  i,  147,  n.  2;  — 
the,  in  pageantry,  i,  108;  —  the,  in  "Promos  and 
Cassandra,"  i,  49,  n.  i;  —  tread  on  historical 
characters  representing  their  opposites  (Edin 
burgh,  1503),  i,  169;  —  Four  (Coventry,  1456), 
i,  149;  —  Four  (Edinburgh,  1503),  i,  169;  —  the 
Four  in  a  funeral  pageant  at  Rome,  i,  17,  n.  6:  — 
Four  Cardinal,  in  a  Hessian  tilt  (1596),  i,  219;  — 
Four  (London,   1522),  i,   178;  —  the  (London, 
1613),  ii,  34;  —  Four  Cardinal  (London,  1604), 
i,  225;  —  Four  Cardinal  (London,  1661),  i,  245; 

—  Four  Cardinal  (Norwich,   1556),  ii,   17;  — 
Four  (Paris,  1513).  i>  J7i- 

Virtues,  the  Four,  represented  by  pillars  (1626),  ii, 
78,  n.  4. 

Virtues,  the  Seven,  in  the  "Castle  of  Perseverance," 
i,  no;  —  the  Seven  (London,  1432),  i,  144,  and 
n.  3;  —  the  Seven  (London,  1501),  i,  168;  —  the 
Seven  (Reggio,  1453),  i,  148,  n.  4;  —  the  Three 
(Norristown,  1912),  ii,  250. 


"Viseres"  at  Yuletide,  i,  101. 

"Visor"  and  "entertainment,"  i,  102,  and  n.  5. 

Visors  prohibited,  i,  103  f. 

Visus  (London,  1613),  ii,  34. 

Voice  of  the  World,  the  (London,  1911),  ii,  225. 

Vulcan  (Antwerp,  1803),  i,  254;  —  in  a  black 
smiths'  shop  (1629),  ii,  71;  ii,  72;  —  in  the  Dub 
lin  "Fringes,"  i,  23,  n.  3;  —  (Dublin,  1528),  i, 
179;  —  (Dublin,  1665),  i,  251;  —  at  Preston, 
i,  34;  i,  81 ;  —  a  trade-figure  (1685),  ii,  63. 

Vyner  and  Charles  II,  ii,  54;  —  Sir  Robert,  Mayor 
of  London  (1674),  ii,  53. 

Wace  and  the  Round  Table,  i,  95. 

Waddington,  M.r  guest  at  Guildhall  (1883),  ii,  122, 
n.  i. 

Wade,  Edmund,  Archepiscopal  bargeman,  ii,  10, 
n.4. 

Waithman,  Mr.,  on  a  sub-committee  for  1823 
"armed  men,  "ii,  108. 

Waithman,  Robert  (London,  1906),  ii,  133. 

Waits,  i,  49  ff.,  and  notes;  —  in  a  masque  at  Edin 
burgh  (1908),  ii,  223;  —  at  Norwich,  i,  28;  — 
City,  described  by  Ward,  i,  50,  n.  2 ;  —  of  Nor 
wich  (1578),  i,  210;  —  of  Norwich  give  installa 
tion  pageant  (1556),  ii,  i6f.;  —  paid  for  music 
in  1790,  ii,  101;  —  provide  music  for  the  pro 
cession  and  ball  of  1794,  ii,  102;  —  provide 
music  in  1801,  ii,  102;  —  the,  in  revels  (Chester, 
1910),  ji,  224. 

Wakelyn,  John,  i,  40. 

Walderne  goes  by  water  to  Westminster  in  1422, 
ii,  4;  ii,  6. 

Wales,  cars  emblematical  of  (1891),  ii,  126;  — 
Christmas  mumming  in,  i,  17;  —  effigies  in,  i, 
56,  n.  3;  —  Pageant  of,  at  Cardiff  (1909),  ii,  199, 
n.  i;  ii,  202,  n.  4;  —  Palm  Sunday  in,  i,  15;  — 
Prince  of,  the  investiture  of  the  present  (1911), 
ii,  227;  —  Prince  and  Princess  of,  at  Guildhall 
(1901),  i,  257;  —  Prince  and  Princess  of,  at 
Knutsford  (1887),  ii,  153;  —  Prince  and  Prin 
cess  of,  at  Swansea  (1881),  i,  257;  —  Prince 
Henry  created  Prince  of  (1610):  triumphs  in 
connection  with  the  ceremony,  i,  230-233;  — 
Prince  Charles  created  Prince  of  (1616):  water- 
triumphs  in  connection  with  the  ceremony,  i, 
233  f-5  —  represented  by  Amphion  (London, 
1610),  i,  231;  —  scene  in,  in  the  Yale  Pageant, 
ii,  274,  n.  i;  ii,  275;  —  typified  by  tableau  repre 
senting  the  Investiture  of  the  Prince  of  Wales 
(Lichfield,  1911),  ii,  152. 

Wales,  Angel  of,  in  a  play  for  propaganda  (1914), 
ii,  230;  —  personified  by  one  of  the  "children  of 
honour,"  (London,  1509),  i,  170;  —  (London, 
1610),  ii,  75,  n.  i ;  —  (London,  1919),  ii,  141 ;  — 
Prince  of  (Lichfield,  1893),  ii,  150;  —  repre 
sented  by  a  king  (London,  1661),  i,  243,  n.  i. 

le  Waleys,  Henry,  first  M.P.  for  London  (London, 
1907),  ii,  134. 


INDEX 


431 


Walganus  of  Jutland  (London,  1522),  i,  177. 

Walhalla,  Madame  Warton  of  the,  takes  the  part 
of  Lady  Godiva  (1848),  ii,  170. 

Wallace,  C.  W.,  on  the  text  of  "London's  Love,"i, 
230;  n.  4;  —  Youths'  Society  in  the  Edinburgh 
procession  of  1832,  ii,  166. 

Wallingford,  Christmas  at  (1326),  i,  126;  —  place 
for  tournament  near,  i,  89. 

Walls,  the  (Chester,  1910),  ii,  215. 

Walpole,  Sir  Robert  (London,  1889),  ii,  124. 

Walpole,  Sir  R.,  first  wife  of,  grand-daughter  of  Sir 
John  Shorter,  ii,  63,  n.  8. 

Walworth,  Sir  William  represents  the  Common 
wealth  (London,  1590),  ii,  25;  —  his  1616  resur 
rection,  ii, 80;  —  (London,  1700),  ii, 68;  ii,  80;  — 
(London,  1783),  ii,  99;  —  (London,  1884),  ii, 
123;  —  (London,  1913),  ii,  138. 

Wantage,  Lord,  outdoor fUe given  by  (1884),  ii,  159. 

War  (Bristol,  1574),  i,  206;  —  (New  Haven,  1916), 
ii,  274,  n.  i;  —  (Norristown,  1912),  ii,  250;  — 
(Providence,  1919),  ii,  289. 

War  and  the  Community  Drama,  ii,  290. 

War  Gardens  (Providence,  1919),  ii,  289;  —  Savings 
Stamps  (Providence,  1919),  ii,  289. 

War,  the,  does  not  interrupt  the  Show,  in  1914,  ii, 
139- 

"War  of  1812"  (Providence,  1919),  ii,  289. 

War  Office,  the,  refuses  armor  for  the  1879  Show, 
ii,  1 20. 

Ward,  Sir  A.  W.,  defines  pageant,  i,  3 ;  —  Sir  A.  W., 
on  growth  of  moralities,  i,  107;  i,  108;  —  Sir  A. 
W.,  suggests  influence  of  "royal-entry"  on 
chronicle  plays,  i,  196;  —  Edward,  describes 
waits  of  London,  i,  50,  n.  2;  —  describes  Lon 
don  giants,  i,  61 ;  —  Sir  Patience,  Mayor  of  Lon 
don  (1680),  ii,  59. 

Wards  levied  on  for  pageants  (1522),  i,  174,  n.  6. 

Ward's  "London  Spy,"  the  account  of  a  civic  show 
in,  mentioned,  ii,  86. 

Wards  of  the  City,  Constables  of  the  (i74o),ii,  92. 

Warham,  Archbishop,  inthroned  (1504),  i,  82;  — 
Archbishop,  waits  on  King  Henry  VIII  and 
Charles  V,  i,  174. 

Warlike  Force  of  the  City  (London,  1604),  i,  224;  — 
(London,  1783),  ii,  100. 

Warren,  Mr.,  provides  music  in  1809,  ii,  104;  — 
Ralph  —  ancestor  of  Hampden,  ii,  124. 

Warrington,  May-day  celebration  of  Laborites  at 
(1914),  ii,  155. 

Warships  of  various  nations  at  Quebec  (1908),  ii, 
240  f . 

"Warspite,"  boys  of  the,  in  the  1889  Show,  ii,  124; 
—  in  the  1890  Show,  ii,  125;  —  in  the  1895  Show, 
ii,  127;  —  in  the  1901  Show,  ii,  129;  —  in  the 
1906  Show,  ii,  132;  —  in  the  1913  Show,  ii,  138. 

Warton,  Madame,  of  the  Walhalla  takes  the  part 
of  Godiva  (1848),  ii,  170;  — Mr.,  appears  as 
Edward  the  Confessor  (1848),  ii,  170;  —  [T.]  on 
influence  of  pageantry  on  the  drama,  i,  196,  n.  2. 


Warwick  (Warwick,  1906),  ii,  215. 

Warwick,  celebration  of  Vernon's  birthday  at 
(1740),  ii,  178,  n.  4;  —  Earl  of,  as  "Green 
Knight,"  i,  75,  n.  3;  cf.  illus.  opp.  i,  88. 

Warwick,  Earl  of  ["the  kingmaker"]  (London, 
1907),  ii,  134. 

Warwick,  Elizabeth  at  (1572),  i,  205;  —  (Massa 
chusetts)  cost  of  the  pageant  at,  ii,  206,  n.  2;  — 
(Massachusetts),  the  Pageant  of,  ii,  279  f.;  — 
(England),  Pageant,  the  (1906),  i,  205,  n.  3;  ii, 
199;  ii,  218;  ii,  218;  ii,  219;  ii,  221,  n.  3;  ii, 
222;  —  Pageant,  profits  of  the,  ii,  206;  —  place 
for  tournament  near,  i,  89. 

Washington  (Marblehead,  1912),  ii,  278;  —  George 
(Norristown,  1912),  ii,  249;  —  and  the  early 
flag  (Boston,  1912),  ii,  246. 

"Washington's  Coach"  (New  York,  1909),  ii,  243. 

"Washington  Crossing  the  Delaware"  (St.  Louis, 
1886),  ii,  253,  n.  4. 

"Washington's  Entrance  into  Boston"  (Boston, 
1897),  ii,  261. 

"Washington,  Funeral  Honors  for,"  in  the  Oxford 
(Massachusetts)  Pageant,  ii,  279. 

"Washington  taking  the  Oath  of  Office"  (New 
York,  1909),  ii,  243. 

"Washington's  Visit,  1789"  (New  Haven,  1916), 
ii,  274,  n.  i. 

Washington  honored  with  a  trade-procession  at 
Boston  (1789),  ii,  177;  —  portrait  of,  on  the 
banner  of  the  Washington  Hose  Company 
(1847),  ii,  238,  n.  i. 

Washington,  a  masque  at  (1913),  ii,  284  f.;  —  pag- 
eantic  propaganda  at,  ii,  255. 

Watch  prepared  for  the  1740  Show,  ii,  92. 

Watchfulness  (London,  1622),  ii,  77. 

Watchman,  a  (St.  Louis,  1914),  ii,  273,  n.  2. 

Water-fight  with  pageantic  features  (1610),  i, 
232  f.;  —  tournaments  (1536,  1539),  i,  9$;  — 
mock-fight,  ii,  45  f. 

232  f.. 

Water,  mock-battle  on  the  (Bristol,  1574),  i,  206. 

Water-Power  (Keene,  1913),  ii,  271,  n.  4. 

Water  processions,  progresses,  shows,  or  triumphs: 

growth  of,  ii,  6;    splendor  of,  increases,  ii,  10; 

(1536),!,  184;  (1536, 1539),  i,  98;  (1574),  i,  206; 

(i575),  i,  208;  i,  209,  and  n.  i;   (1591),  i,  216; 

ii,  26;  (1602),  ii,  27  f.;  (1609),  ii,  30;  (1610),  i, 

230 f.;    ii,  30;    (1613),  ii,  33,  n.  2;    (1616),  i, 

233  f-J   (1623),  ii,  38;   (1628),  ii,  39;   (1655),  ii, 
44;    (1656),  ii,  45  f.;    (1657),  ii,  47;    (1661),  ii, 
48;    (1662);  i,  247  f.;   (1664),  ii,  49;   (1667),  ii, 
50;   (1668),  ii,  50;  (1679),  ii,  575  (1680),  ii,  59; 
(1683),  ii,  61,  and  n.  i;    (1686),  ii,  63;    (1721), 
ii,  88;  (c  1740),  ii,  9°  f-5  (i773),  ",  97!  ~  at  the 
end  of  the  xviii  century,  ii,  102;  (1824),  ii,  108  f.; 
(1842),  ii,  112,  n.  i;    (1843),  ii,  112,  n.  i;  — 
omitted  (1850),  ii,  115,  n.  2;  — the  last  civic 
(1856),  ii,  117;  (1919),  ii,  141- 

Waterloo,  era  of  (London,  1897),  ii,  188;  — spoils 


432 


INDEX 


of,  worn  in  the  1815  Show,  ii,  104;  —  spoils  of, 

in  the  1822  Show,  ii,  108. 
Waterman,  Sir  George,  Mayor  of  London  (1671), 

ii,  51,  n.  i. 
Watson,    H.,    shows    pageantic    transparencies 

(1814),  ii,  162. 
Watts,  Hugh,  to  find  "wild-men"  (1566),  ii,  21, 

n.  2;  —  [Mr.]  keeper  of  Blackwell  Hall,  i,  253, 

n.  i. 

"Waytes"  in  the  1913  Show,  ii,  138. 
"Wealth"  (St.  Louis,  1878),  ii,  253,  n.  2. 
Weapons,  Roman,  used  in  the  1914  "Tournament" 

ii,  190. 
Weavers'  Pageant  at  Coventry  (1565),  i,  204,  and 

n.  i. 

Weavers  with  Penelope  (London,  1783),  ii,  99. 
Webb,  Sir  William,  Mayor  of  London  (1591),  ii, 

25- 

Webster's  ''Monuments  of  Honor"  (1624),  ii,  38. 
Week,  a  (London,  1677),  ii,  74;  ii,  191. 
Wedurby,  John,  prepares  for   1456  "entry"  at 

Coventry,  i,  149,  and  n.  2. 
Weighing,  the  history  of  (1901),  ii,  128,  andn.  3. 
Weir,  H.  C.,  on  the  Hudson-Fulton  Pageant  of 

1909,  ii,  242  f.,  and  notes;  ii,  244,  n.  3. 
"Welcome,"  the  (Philadelphia,  1882),  ii,  237,  n.  4; 

ii,  240;  ii,  241. 
Welcome  of  citizens  of  London  to  Philip  II,  i,  191; 

—  of  Elizabeth  by  the  people,  i,  199. 
"Welcome,  Tower  of,"   the   (Quebec,    1908),   ii, 

240,  n.  5. 

Wellington,  Duke  of  (London,  1911),  ii,  137. 
Wellington,  Duke  of,  the  death  of,  prevents  the 

1852  Show,  ii,  116;  —  on  a  transparency  (1814), 

ii,  162;  —  troops  of,  in  the  1897  "tournament, 

ii,  188. 
Wellow,  paid  for  King  William1  s  armor  (1534),  i, 

41,  n. i. 
Wells,  John,  Grocer,  Mayor  of  London  (1432),  i, 

142;  i,  146,  n.  4;  —  Sir  John,  his  "pageant"  to 

Henry  VI  mentioned,  ii,  33,  n.   2;  —  king  at, 

for  Christmas  (1332),  i,  127. 
Welsh  costume,  knitters  in  (Swansea,   1881),  i, 

2575  —  singers  in  (Swansea,  1881),  ii,  257. 
Welsh  Settlers  (Norristown,  1912),  ii,  249. 
Wenimesset,  ii,  280. 
West  Bow  (Edinburgh),  i,  236;  —  Cheap  (London) 

i,  37,  and  n.  3;  i,  193. 
Welstcott,  Canon,  Headmaster  of  the  Sherborne 

School,  took  part  in  the  pageant,  ii,  202. 
West  Dorset  Pageant,  the  (1911),  ii,  222,  n.  2. 
West  Indian  "Cacick"  (London,  1684),  ii,  62. 
West,  Piers,  paid  for  barges  by  Grocers,  ii,  6. 
West  Port  (Edinburgh),  i,  215. 
Westminster,  i,  98;  i,  112;  i,  126,  and  n.  i;  i,  129; 

i,  130;  i,  131;  i,  135;  i,  147;  i,  154,  n.  5;  i,  155, 

n.  i;  i,  160;  i,  161;  i,  181;  i,  184;  i,  185,  and 

notes  3  and  6;  i,  187;  i,  189;  i,  202;  i,  215;  i, 

219;   i,  225;  i,  253;  ii,  3;   ii,   4;   ii,    5;   ii,   6; 


ii,  7;   ii,  8;   ii,  9;   ii,  10;   ii,  ii;   ii,  13;   ii,  15; 

11,17;  ii,  19;  ii,  23;  ii,  26;  ii,  27;  ii,  33;  ii,  43; 

ii/44;  ii,45;  ii,  48;  ii,  5°;  ii,  55!  ii,  57!  ii,  60; 

ii,  67;  ii,  68;  ii,  69,  n.  3;  ii,  88;  ii,  89;  ii,  90; 

ii,  92;  ii,  93;  ii,  97;  ii,  99;  ii,  102;  ii,  105,  and 

n.  3;  ii,  108;  ii,  no;  ii,  112,  n.i;  ii,  115,  n.  2; 

ii,  120,  n.  4;  ii,  121;  ii,  139. 
Westminster  (London,  1631),  ii,  75. 
Westminster  Abbey,  model  of  (1907),  ii,  133;  — 

Hall,  i,  61;  i,  112;  i,  113,  n.  2;  i,  116;  i,  161; 

i,  182,  n.  i;  —  Hall,  last  trip  to,  in  1882,  ii,  121; 

—  the  road  to,  ji,  4;  —  scene  at,  in  the  English 

Church  Pageant,  ii,  200;  —  School,  children  of, 

in  the  1561  Show,  ii,  18;  —  in  the  1566  Show, 

ii,  20;  —  Stairs,  ii,  46;  ii,  67;  ii,  90. 
"Westward  Ho!"  (St.  Louis,  1886),  ii,  253,  n.  4. 
Westwyk  Gates  (Norwich),  i,  152. 
"Whale  fountain"  (Antwerp,  1843),  i,  256,  and 

n.  6. 
Whale,  mechanical  (Antwerp,  1803),  i,    254;  — 

(London,  1610),  i,  230;  i,  231. 
Whifflers,  i,  26,  n.  3;  i,  28,  and  notes;  i,  71,  and 

notes;  i,  99;  i,  203 ;  i,  218,  n.  i ;  —  at  Greenwich 

(1560),  i,  203;  — (1566),  ii,  21;  — (c  1575),  ii, 

22;  — (1609),  i,  99;  — (1688),  ii,  64,  n.  4;  — 

(c   1740),   ii,   90;  — (1913),   ii,    138;  — in  the 

Gloucestershire  Pageant  (1908),  i,  218,  n.  i. 
Whigs'  Pope-burning  of  1711  suppressed,  ii,  175, 

and  n.  3. 
White,  Sir  George,  pictured  at  Belfast  (1914),  ii, 

182. 
White,  Sir  Thomas  (Coventry,  1848),  ii,  170,  and 

n.  2;  —  (Coventry,  1862),  ii,  170,  n.  7. 
White,  Sir  Thomas,  Mayor  of  London  (1553),  ii, 

13,  n.  5. 

Whitef riars  (London),  i,  246. 
Whitehall,  i,  115;  i,  116;  i,  117;  i,  118;  i,  194;  i, 

205,  n.  i;  i,  213;  i,  219;  i,  231;  i,  233;  i,  234; 

i,  242;  i,  243;  i,  244;  i,  247;  i,  248;  i,  249;  i, 

250;  ii,  46;  ii,   52;  ii,  60;  —  pageantic  jousts 

at,  i,  115  f. 
Whitehorse  Hanoverian  Regiment,  soldiers  of  the 

(London,  1889),  ii,  125.    White  Horse,  the,  in 

Wiltshire,  i,  51,  n.  3. 
Whitelocke,  Bulstrode,  on  Middle  Temple  masque 

committee  (1634),  i,  118. 
"White   plague,"   work   against   the,   shown   in 

Boston  procession  (1912),  ii,  247. 
Whiting,  Thomas,  joiner,  has  a  hand  in  the  1662 

"triumph,"  i,  250. 
Whitmonday  at  Leicester,  i,  16. 
Whitsun  pageant  used  on  a  civic  occasion  (Nor 
wich,  1563),  ii,  19;  —  plays  at  Chester,  i,  20, 

n.  3;   i,  43,  and  n.  4;   i,  44,  n.  6;— plays  at 

Norwich,  i,  27. 
Whit-Tuesday,  Chester  Midsummer  Show  moved 

to  (1670),  i,  44,  n.  9. 
Whittaker,  Mr.,  on  a  sub-committee   for   1823, 

"armed  men,"  ii,  108. 


INDEX 


433 


Whittington,  Sir  Richard  (London,  1783),  ii,  100;  — 
as  boy  and  mayor  (London,  1884),  ii,  123;  — 
(London,  1889),  ii,  125;  —  (London,  1895),  ii, 
127;  —  (London,  1906),  ii,  132;  —  as  an  appren 
tice  (London,  1913),  ii,  138. 

Widja  (or  Vidrick),  a  romantic  hero,  i,  53,  n.  3. 

Wigmore,  Roger  Mortimer  of,  holds  Round  Table 
in  1328,  i,  oo. 

Wilder,  H.  H.,  on  belief  that  early  inhabitants  were 
gigantic,!,  53. 

"Wilderness,  the"  (1392),  i,  131;  —  (1501),  i,  114; 
—  (1619),  ii,  73;  — (1628),  ii,  39  f.;  — (1656), 
",  46;  — (1657),  ii,  47;  — (1660),  ii,  47*-;  — 
(1661),  i,  246;  — (1672  and  1673),  ii,  53;  — the 
Power  of  the  (St.  Johnsbury,  1912),  ii,  270. 

"Wild-fire,"  i,  40,  and  n.  5;  i,  72,  n.  3;  —  in  the 
1561  Show,  ii,  18;  —  in  the  "Snail  Mount"  (El- 
vetham,  1591),  i,  216. 

Wildman,  W.  B.,  historian  of  Sherborne,  ii,  197, 
n.  i. 

"Wild-man,"  the,  i,  40,  n.  5;  i,  51,  n.  2;  i,  70;  i, 
72  f.  [ch.  i,  §  8];  i,  73,  and  notes  i  and  5;  i,  74, 
n.  2;  i,  75,  n.  4;  i,  76;  i,  79,  n.  7;  i,  99;  i,  102, 
and  notes;  i,  115;  1,121;  i,  139,  and  n.  5;  i,  209, 
n.  i;  i,  217;  i,  229;  ii,  13  f.,  and  n.  13;  ii,  15; 
ii,  16;  ii,  18;  ii,  21;  ii,  22;  ii,  49;  ii,  84,  n.  6;  ii, 
85,  and  n.  2;  ii,  160;  —  recalled  by  "The  Power 
of  the  Wilderness,"  ii,  270.  See  also  wodewose, 
wodyn,  wodys,  wood-man,  woodwases,  and 
forester. 

Wilhelm  II  at  the  "Royal  Naval  and  Military 
Tournament"  (1911),  ii,  189. 

Wilkes,  John  (London,  1889),  ii,  125;  —  (London, 
1906),  ii,  133. 

Wilkinson,  Lady  Beatrix,  symbolical  scene  in  a 
children's  festival  arranged  by  (1914),  ii,  228, 
n.3. 

William,  King,  i,  7,  n.  i. 

William  of  Montacute,  a  tournament  in  Cheap 
keptby(i33i),i,9o. 

William  I  (London,  1914),  ii,  228,  n.  2. 

William  III  and  his  consort  at  the  mayor's  dinner 
(1689),  ii,  64;  —  (1692),  i,  252;  ii,  66,  n.  2. 

William  III  in  Canadian  Orange  processions,  ii, 
252;  —  at  Scarva  (1914),  ii,  186. 

William  III  at  the  Hague,  i,  252;  —  at  London 
(1697),  i,  252; — pictured  at  Belfast  (1914),  ii, 
i8of. 

William  the  Conqueror,  i,  41 ;  —  (Bristol,  1461),  i, 
795  i,  151;  —  (London,  1534),  i,  79;  —  (London, 
1884),  ii,  123;  —  (London,  1907),  ii,  133. 

"William  the  Conqueror  removes  the  See  to  Sar- 
um"  (Sherborne,  1905),  ii,  210. 

Williams,  Roger  (Providence,  1919),  ii,  289. 

Will  Scarlet  (Coventry,  1862),  ii,  170;  —  (Knuts- 
ford,  1913),  ii,  154. 

Wilton,  place  for  tournament  near,  i,  89. 

Wiltshire,  White  Horse  in,  i,  51,  n.  3. 

Winchester,  Bishop  of,  objects  to  Verbum  Dei,  i, 


191  f.;  —  Bishop  of,  servants  of  the,  start  trouble 
(1425),  ii,  6f.;  —  founder  by  Hudibras,  i,  78, 
n.  i;  —  Pageant  of  1908,  i,  190,  n.  12;  ii,  222, 
n.  2;  ii,  224;  ii,  225  f.;  —  Pageant  of,  in  fiction, 
ii,  204;  —  scene  at,  in  the  English  Church  Pag 
eant,  ii,  200. 
Winds  (London,  1612),  ii,  32;  —  The  Four  (Paris, 

I5i3)>i,  171- 

Windsor,  Lord,  in  a  tilt,  (1581),  i,  213. 
Windsor,  national  pageant  at,  suggested,  ii,  202, 

n.  4;  —  "round-table"  at   (1344),  i,  92  ff.;  — 

special  Garter  Service  at  (1912),  ii,  227,  n.  3;  — 

Lydgate's  disguising  at,  i,  107;  —  tournament  at 

(1344),  i,  92 ;  —  tournament  at  (1348),  i,  93 ',  i,  94- 
Windsor  (London,  1662),  i,  249. 
Wine  flowing  from  conduits  —  passim. 
"Winter,  Glacial  Period  of"  (St.  Louis,  1878),  ii, 

253,  n.  2. 
Winter  (Cambridge,  1919),  ii,  284;  —  (Edinburgh, 

1908),  ii,  223;  —  (London,  1677),  ii,  74;  —  and 

Summer,  contest  between,  i,  4  f.;  i,  51 ;  i,  72,  and 

n.s. 
"  Winthrop,  Theodore,  the  Death  of"  (New  Haven, 

1916),  ii,  274,  n.  i;  ii,  275. 
Winthrop    (Boston,    1897),    ii,    26lJ  ~  Margaret 

(Boston,  1897),  ii,  261. 
"Winzerfest"  at  Vevey,  ii,  147,  n.  4. 
Wire  Workers,  the,  exhibit  of  (Preston,  1902),  ii, 

165,  n.  2. 
Wisdom  (London,  1559),  i,  200;  —  (London,  1590), 

ii,  25;  —  Queen  of  (London,  1911),  ii,  225. 
Wise  Student,  a  (Oxford,  1907),  ii,  223. 
Witches'  tricks,  memory  of,  recalled  in  Hallowe'en 

mumming,  ii,  158. 
Withington,  Mrs.  G.  B.,  on  the  Little  Compton 

parade,  ii,  250  f . 
Witney,  "Jack"  at,  i,  70. 

"Wits,  The,"  acted  with  scenes  (1661),  i,  120,  n.  2. 
"Wodeman,"i,73. 
Woden,  personification  of,  perhaps  at  the  root  of 

Robin  Hood  and  May-games,  i,  7. 
"Wodewose,"  i,  73,  n.  5;  —  in  Christmas  mum- 

mings  at  court,  i,  74.    See  also  Wild-man. 
Wodewoses  at  court,  i,  102. 
"Wodmen"  of  London  shows  suggested  by  "wild- 
man  "  at  Bisham  (1591),  i,  217. 
"Wodyn,"  in  London  civic  shows,  i,  74,  n.  2;  i,  77. 
"Wodys,"  in  1554  at  London,  i,  77. 
Wolfe,  soldiers  of  (Quebec,  1908),  ii,  240;  ii,  263. 
Wolfe  (London,  1914),  ii,  228,  n.  2; —  (Quebec, 

1908),  ii,  263,  and  n.  4;  ii,  264;  — in  "Up  the 

Heights,"  ii,  230. 
Wolsey,    Cardinal    (Lichfield,    1893),    ii,    150;  — 

(London,  1910),  ii,  136;  — (Oxford,  1907),  ii, 

223. 
Wolsey,  Cardinal,  receives  Charles  V  and  Henry 

VIII  (1520),  i,  174- 
Woman-suffrage  masque,  the,  at  Washington,  11, 

284  f.;  —  pageantic  appeals  for,  ii,  246;  ii,  249; 


434 


INDEX 


—  pageant  at  Washington  in  1913,  ii,  255;  — 
procession  at  New  York  (1912),  ii,  255. 

Woman's  Relief  Corps,  the,  gives  scenes  in  the 

Boston  "festival"  of  1897,  ii,  261. 
Wombwell  and  Bailey's  menagerie  at  Lichfield 

(1893),  ii,  150. 

WombwelTs  Show  at  Coventry  (1862),  i,  68,  n.  2. 
Women  in  a  "Festival  of  the  Seasons,"  at  Cam 
bridge,  ii,  284. 
Wood,  William  A.,  on  the  Lichfield  "Bower,"  ii, 

149,  n.  4. 

Wood  Street  (London),  i,  245;  ii,  82. 
Wood,  a,  with  the  "royal  oak"  (1660),  ii,  47;  — 

nymphs,  symbolical  dance  of  (Boston,  1908),  ii, 

283. 

"Wooden  Engine"  in  early  dances,  i,  4;  i,  112,  n.  7. 
Wooden  horse,  the,  of  Troy  (Winchester,  1908), 

11,225. 

"Wood-houses"  (wild-men),  ii,  18. 
"Woodland  play"  called  "The  High  Constable  of 

Cotsholde"  (1592),  i,  218,  and  n.  3. 
"Wood-man"  and  forester  in  1663,  i,  77;  —  and 

forester  combined  (1663),  ii,  49;  —  at  Worksop 

(1603),  i,  222,  n.  i. 

"Woodmen"  in  the  1566  Show,  ii,  21. 
"Wooden  Spoon  Prom,  the"  (New  Haven,  1916), 

ii,  274,  n.  i;  ii,  275. 
"Woodwards"  (wild-men)  in  the  1556  Show,  ii,  16; 

—  (wild-men)  in  1561  Show,  ii,  18. 
Wood-spirits   vs.   sea-gods   (Elvetham,    1591),   i, 

216  f. 

"Wood-wases"  at  Paris,  i,  76,  n.  i. 

Wood-nymphs  (London,  1671),  ii,  51. 

Woodstock,  Elizabeth  at  (1592),  i,  217,  n.  2. 

Woodward,  family  name  of,  i,  73,  n.  5. 

"Woodwos"  in  1522,  i,  121. 

"Wool  Arch"  (Swansea,  1881),  i,  257. 

Wool-Combers  in  the  Coventry  procession  of 
1826,  ii,  167;  —  suggestion  of,  in  the  1848  pro 
cession,  ii,  170,  and  n.  3;  —  in  the  1862  pro 
cession,  ii,  170,  and  n.  7. 

Woolmen  with  Bishop  Blaise  (London,  1783),  ii, 
99. 

Worcester,  Elizabeth  at  (1575),  i,  210;  —  Henry 
VH  at  (1486),  i,  159;  — Hokeday  at,  i,  33;  — 
Midsummer  Show  at,  j,  47. 

Worksop,  James  I  at  (1603),  i,  222,  n.  i. 

Worms,  play  of  Luther  at,  ii,  197. 

"World's  Contribution  to  Boston,  The"  (Boston, 
1912),  ii,  247. 

Worth,  R.  N.,  on  Millbrook  May  Day,  and  on 
the  Plymouth  Corpus  Christi,  i,  12. 

Worthies  descended  from  civic  dignitaries  in  the 
1889  Show,  ii,  124  f.;  —  painted,  of  1554,  ii,  179. 

Worthies  (Coventry,  1456),  i,  79;  i,  150;  —  (Co 
ventry,  1408),  i,  79;  i,  164;  —  in  Corpus  Christi 
procession  at  Dublin,  i,  22;  i,  23;  —  in  Hainault 
(1326),  i,  04;  —  (London,  1554),  i,  191,  and  n.  2; 
i,  192; — include  Henry  VIII  and  Edward  VI 


(1554),  i,  80;  —  (London,  1554),  include  Henry 
VIII,  Edward  VI,  and  Mary,  i,  191,  and  n.  2;  — 
(London,  1621),  ii,  73;  —  Nine,  in  "royal-en 
tries,"  i,  195;  —  at  Paris  (1431),  i,  80;  —  (Stutt 
gart,  1609),  i,  99;  —  [male  and  female]  (Paris, 
1431),  i,  138,  and  n.  4;  i,  140. 

Worthy  Governance,  Seat  of  (London,  1559),  i,  200. 

Wright,  Andrew,  repairs  the  "Assumption"  and 
makes  a  new  pageant  of  St.  Ursula"  (1522),  i,  40, 
n.  3 ;  —  John,  part-owner  of  Chester  Midsummer 
pageants,  i,  45,  n.  5;  i,  46,  n.  3. 

Wriothesley,  Charles,  notes  "subtleties"  in  1536, 
i,84- 

Wiirttemberg,  Duke  of,  marriage  of  (1609),  i,  99;  — 
Duke  of,  at  Stuttgart  (1617),  i,  234. 

"Yale  Battery,  the"  (New  Haven,  1916),  ii,  274, 
n.  i;  —  Bicentennial,  the,  ii,  261  f.;  —  repro 
duced,  ii,  274,  n. i. 

Yale  Bowl,  the  (New  Haven),  ii,  275. 

"Yale,  the  Founding  of"  (New  Haven,  1916),  ii, 
274,  n.  i. 

Yale,  Historical  scenes  at  (1901),  ii,  261  f.;  —  Pag 
eant,  the,  of  1916,  ii,  274  f. 

Yale  (New  Haven,  1916),  ii,  274,  n.  i;  ii,  276. 

"Yankee  Doodle"  (Marblehead,  1912),  ii,  278. 

Yankees  (Knutsford,  1913),  ii,  153. 

"Year,  the  Pageant  of  the,"  at  Brookline,  ii,  284. 

Year,  a  (London,  1677),  ii,  74;  ii,  191. 

Yeaton,  Thomas,  paid  for  gunpowder  for  Chester 
Show  (1564),  i,  43;  n-  5- 

Yellow  Dwarf  (Lichfield,  1893),  ii,  150. 

Yeokney,  Walter,  addressed  speeches  to  General 
Monk  (1660),  ii,  57,  n.  i. 

"Yonkers,  the  old  Manor  Hall  in"  (New  York, 
1909),  ii,  243. 

York,  the  capital  at,  i,  129;  —  Corpus  Christi  at, 
i ,  1 8 ,  n .  i ;  —  Corpus  Christi  processions ,  i ,  2 1 ;  — 
"Disinherited — ?"  produced  at  (1914),  ii,  230; 
—  Ebraucus  at,  i,  78;  i,  158,  and  notes;  ii,  218, 
n.  i;  —  Edward  IV  at  (1478),  i,  154;  —  Henry 
VII  at  (1486),  i,  157;  —  James  I  at  (1603),  i, 
222,  n.  i; — James  I  at  (1617), i,  234; — Pageant, 
the  (1909),  i,  158,  n.  2;  ii,  218;  ii,  219;  ii,  221, 
n.  3 ;  ii,  224,  n.  7 ;  —  Pageant,  the,  allegory  in  the 
chorus  of,  ii,  214,  n.  i;  —  Pageant,  the  accounts 
of  the,  ii,  206;  ii,  234;  —  Pageant,  site  of  the, 
ii,  200;  —  painting  of  "Chariot  of  Honour" 
(or  "Justice")  in  Guildhall  at,  ii,  65,  n.  3;  — 
Richard  III  at  (1483),  i,  155  f.;  — Yule  pro 
claimed  at,  i,  17,  n.  5;  —  Herald,  the,  directs 
the  "ceremonies"  in  an  opera  at  London  in  1913, 
ii,  210;  —  Archbishop  of,  accompanies  Anne 
Boleyn  hi  1533  "entry"  i,  181;  —  Duke  of, 
popular  displeasure  at  marriage  of,  ii,  172. 

York,  Duke  of,  statue  of  (London,  1661),  i,  243, 
n.  i ;  —  Duke  of,  [brother  of  Edward  V],  (London, 
1907),  ii,  134;  — (London,  1910),  ii,  136;  — 
and  Lancaster,  union  of,  shown  by  historical 


INDEX 


435 


figures  (London,  1559),  i,  200;  —  (London, 
1631),  ii,  75- 

Yorks,  the  American  and  Colonial,  personified  at 
York,  ii,  215,  n.  2. 

York  Place,  Westminster,  i,  184;  1,194.  ["Other 
wise  called  the  White  Hall,"  i,  194.] 

Yorkshire,  mummers  in,  i,  10,  n.  5;  —  sword-dance 
performed  at  Ripon  (1886),  ii,  161. 

Young,  John,  Somerset  Herald,  describes  recep 
tion  of  Margaret  at  Edinburgh,  (1503)  i,  168. 

Young,  Sir  John  (London,  1783),  ii,  100. 

Young  Men's  Catholic  Association,  the,  float  fur 
nished  by  (Boston,  1912),  ii,  247. 

Young  Women's  Catholic  Patriotic  Club,  a  "pag 
eant"  given  by,  ii,  287;  —  Christian  Association, 
a  festival  given  by  the  (Cambridge,  1919),  ii,  284. 

Yoton,  a  giant  lived  at  Colchester,  i,  51,  n.  3. 

"Youth,  the  Fountain  of"  (St.  Louis,  1886),  ii, 
253,  n.  4. 


Youth    (Oxford,    1907),   ii,    223;  —  (Washington, 

1914),  ii,  255. 

Young  Woman  (Peterborough,  1910),  ii,  264. 
"Ypolite,"  one  of  the  Preuses  (Paris,  1431),  i,  138, 

n.  4. 
Yule,  counterpart  of  Midsummer  feast,  i,  36,  n.  5; 

—  proclaimed  at  York,  i,  17,  n.  5. 
"Ywain,"  giant-herdsman  in,  i,  53. 


Zack  (Dover,  1908),  ii,  219  f. 

Zeal  (London,  1604),  i,  225,  and  n.  2;  —  (London, 

1613),  ii,  33;  ii,  34;  ii,  35. 
"Zenger,  the  Trial  of  John  Peter"  (New  York, 

1909),  ii,  243,  and  n.  2. 
Zephyrus  (London,  1661),  i,  246. 
Zodiac,  the  signs  of,  painted  on  pageants  (London, 

1501),  i,  167,  notes  5  and  6. 
Zorobabel,  winner  of  a  debat,  i,  80. 


CORRIGENDA  ET  ADDENDA 

VOLUME  I 

PAGE  1 9,  n.   8  [on  p.  20].    For  Ispwich  read  Ipswich. 

34,  n.    2.    For  1882  read  1822. 

35,  1.    i.    For  Preston  read  Coventry. 

44,  n.  2.  Delete  the  apostrophe  after  Doctors'. 

51,  n.  2.  For  Judas-burning  read  Judas-flogging. 

54,  n.  2.  For  Lebeaus  read  Libeaus. 

58,  n.  2.  For  Mathew  read  Matthew. 

59,  n.  2.  For  Gigantic  read  Gigantick. 
63,  n.  i.  For  Faitholt  read  Fairholt. 

63,  n.    2.    Add:  Cf.  the  giants  at  Antwerp  in  1803  (below,  p.  254)  and  in  1843  (below, 

p.  256). 
77,  n.    i.    For  februrier  read  feburier. 

80,  1.    3.    For  1553  read  1554. 

81,  1.    6.    For  twenty  read  thirty. 
81,  1.    7.    For  this  read  mythology. 

81,  n.    4.    For  in  read  169. 

82,  1.  21.  For  Anne  read  Catherine  of  Valois. 

83,  1.  ii.  For  1469  read  1468. 
91,  1.  ii.  For  1432  read  1342. 
91,  n.    4.  For  1541  read  1341. 

109,  n.    i.    For  Gynewulf  read  Cynewulf. 

123,  1.    i.    For  latter  read  later. 

124,  1.  14.     For  3  read  4. 

125,  n.    i.     Mr.  C.  L.  Kingsford  (Eng.  Hist.  Rev.,  April,  1919,  p.  270)  notes  that  William 

Packington  "was  the  author  of  one  of  the  French  originals  of  the  Brut." 

126,  n.    i.    The  mayor  in  February,  1313  (whose  second  term  began  in  1312)  was  Sir 

John  Gisors,  Pepperer.     (See  Stow,  Survey  [1618],  p.  925;  Gregory's 
Chronicle  [ed.  Camden  Society]  pp.  74  and  252.) 
126,  n.    i.    For  Augier  read  Aungier. 
159,  1.    9.    For  Minister  read  Minster. 
162,  1.  15.    For  an  read  au. 
174,  1.    4.    For  London  read  England. 

190,  n.  12.    Add:  Mr.  Kingsfbrd  records  "an  account  of  the  pageant  for  Philip  of  Spain  in 
1554  ...  in  the  Chronicle  printed  in  Camden  Miscellany,   xii,   38." 
(Eng.  Hist.  Review,  April,  1919,  p.  270.) 
For  Campian  read  Campion. 
Delete  the  comma  after  annis. 
Delete  the  comma  after  Bacon. 

For  fols.  read  f ol. 
For  London  Love  read  London's  Love. 


CORRIGENDA  ET  ADDENDA 

PAGE  231,  1.  31.    Insert  quotation-marks,  ending  the  citation,  after  behalf. 

252,  n.    i.    Add:  Cf.  p.  51,  n.  2,  for  mention  of  the  burning  of  the  giants,  24  April,  1685. 

255,  n.    3.    For  Faitholt  read  Fairholt;  for  contans  read  contains. 

255  ff.  On  this  royal-entry,  see  my  paper:  "Scott's  Contribution  to  Pageantic  De 

velopment — a  Note  on  the  Visit  of  George  IV  to  Edinburgh  in  1822,"  in 
Studies  in  Philology  for  April,  1920. 

256,  n.   4.    For  Lond.  Illus.  News  read  Illus.  Lond.  News. 
256,  n.    7.    For  Lord,  read  Lond. 


VOLUME  II 

NOTE:  In  the  1783  pantomime,  and  in  the  1907  Show,  Sir  Thomas  Gresham,  who  founded  the 
Royal  Exchange,  was  represented.  He  was  not  a  mayor  of  London,  but  was  the  son  of  Sir  Richard 
Gresham,  mayor  in  1537.  He  laid  the  foundation  of  the  Royal  Exchange  in  1566.  [See  Three  Fif 
teenth  Century  Chronicles  (edited  by  James  Gairdner  for  the  Camden  Society,  London,  1880), 
p.  135,  and  the  biography  of  Sir  Thomas  in  the  DNB.]  Sir  Richard  appeared  in  the  1906  Show  (see 
his  biography  in  the  DNB)  —  and  Sir  John,  his  younger  brother,  who  was  sheriff  the  same  year 
that  his  brother  was  mayor  (1537)  and  who  was  mayor  himself,  ten  years  later,  appeared  in  the 
Shows  for  1889  and  1895. 

PAGE  109.  Add:  I  am  indebted  to  Professor  Kittredge  for  calling  my  attention,  while  this 
volume  was  in  press,  to  a  song  entitled  "  Gog  and  Magog  in  Danger,"  published  in 
The  Melodist  (London,  1828),  ii,  201  f.;  and  to  "The  Lord  Mayor's  Show,"  a 
humorous  monologue,  with  verses  [to  the  air  of  "The  Dog's-meat  Man"]  written 
by  J.  S.  Wyburn,  and  sung  by  Mr.  T.  Jones,  at  the  Rotunda,  (ibid.,  iii  [London, 
1829]  102  f;) 
190.  Add: 

THE  ROYAL  TOURNAMENT  [1920] 

When  a  name  grows  too  long  it  is  often  blue-pencilled.  The  Royal  Naval,  Military,  and  Air  Force 
Tournament  had  become  cumbrous  by  additions.  In  future  it  is  to  be  known  as  the  Royal  Tourna 
ment,  which  is  quite  comprehensive.  This  year's  exhibition  will  open  at  Olympia  on  May  aoth,  and 
will  run  until  June  5th,  during  which  time  it  will  be  seen  by  the  King,  the  Queen,  and  other  mem 
bers  of  the  Royal  Family.  Whereas  last  year's  show  was  largely  concerned  with  giving  an  idea  of 
the  war,  this  year's  will  return  to  colour  and  pageantry.  The  military  history  of  Britain  is  to  be 
illustrated.  Grenadiers  will  appear  in  the  uniforms  of  three  centuries,  and  that  they  may  appear 
correctly  every  armoury  and  military  centre  in  the  country  has  been  searched.  Of  course,  the  war 
cannot  be  forgotten.  The  Royal  Engineers  will  reconstruct  a  thrilling  incident  of  bridge-building 
under  fire;  while  Jerusalem  and  the  Dardanelles  will  enter  largely  into  the  decoration  of  the  great 
hall.  —  From  the  London  Times  [weekly  edition,  7  May,  1920],  no.  2262,  p.  369. 

222,  n.  2.  Add:  Mr.  G.  K.  Chesterton,  as  Dr.  Johnson  in  the  English  Church  Pageant 
at  Fulham  Palace,  is  pictured  in  the  Illus.  Lond.  News  for  19  June,  1909,  p.  880. 
As  an  actor  in  a  pageant,  he  has  something  to  say  about  pageantry  (ibid.). 


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